' 


The  ARCHITECTURE  and  the  GARDENS 
of  the  SAN  DIEGO  EXPOSITION 


Digitized  by  the  Internet  Archive 
in  2018  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/architecturegardOOwins 


THE  CALIFORNIA  STATE  BUILDING  OVER 


THE  DOME  AND  TOWER  OF  - 

THE  FINE  ARTS  BUILDING  FROM  THE  SOUTH  GARDENS. 


THE  ARCHITECTURE 
AND  THE  GARDENS 
of  the  SAN  DIEGO 
EXPOSITION 

A  PICTORIAL  SURVEY  of  the  AESTHETIC 
FEATURES?/' the  PANAMA  CALI¬ 
FORNIA  INTERNATIONAL 
EXPOSITION 

DESCRIBED  BY 

CARLETON  MONROE  WINSLOW 

A.  I.  A. 

TOGETHER  WITH  AN  ESSAY  BY 

CLARENCE  S.  STEIN 

ILLUSTRATED  FROM  PHOTOGRAPHS  BY 

HAROLD  A.  TAYLOR 
WITH  AN  INTRODUCTION  BY 

BERTRAM  GROSVENOR  GOODHUE 

F.  A.  I.  A. 

ADVISORY  AND  CONSULTING  ARCHITECT 
OF  THE  EXPOSITION 


PAUL  ELDER  AND  COMPANY 
PUBLISHERS  •  SAN  FRANCISCO 


COPYRIGHT,  1916,  BY 
PAUL  ELDER  AND  COMPANY 
SAN  FRANCISCO 


jiLTTY  CENTER 
LlS^AIvY 


To 

G.  Aubrey  Davidson ,  Esq., 

President  of  the  Exposition, 
the  originator  of  the  idea  of  having  a  world’s 
fair  in  San  Diego  and  in  California,  and 
to  the  citizens  of  a  singularly  sacrifice¬ 
making,  loyal  and  generous  commu¬ 
nity  whose  courage  made  possible 
its  achievement. 


C.  M.  W. 


Over  the  hills  and  far  away, 

Set  in  the  azure ,  spires  and  domes 
Floating  up  through  the  growing  trees , 
Eucalyptus ,  fir  and  pine 
Softly  swaying  in  the  breeze. 

Framed  in  Nature’s  mobile  way 
Past  and  present  sweetly  stray , 
Spanish  castles  modern  homes 
Hearts  unite  and  steps  incline 
Over  the  hills  and  far  away. 

- — Beatrice  Irwin. 


CONTENTS 


THE  ARCHITECTURE  AND  THE  GARDENS 


OF  THE  SAN  DIEGO  EXPOSITION  ...  3 

Bertram  Grosvenor  Goodhue,  F.  A.  I.  A. 

A  TRIUMPH  OF  THE  SPANISH -COLONIAL 
STYLE . 10 

Clarence  S.  Stein 

DESCRIPTIVE  NOTES  OF  THE  ARCHITEC¬ 
TURE  AND  THE  GARDENS  OF  THE  SAN 
DIEGO  EXPOSITION .  20 


Carleton  Monroe  Winslow,  A.  I.  A. 


LIST  OF  ILLUSTRATIONS 

.  FACING  PAGE 

I  he  Dome  and  Tower  of  the  California  State  Building  over  the 
Fine  Arts  Building  from  the  South  Gardens.  ( Frontispiece .) 

The  First  Glimpse  —  Exposition  from  the  West  Lawn  ....  20 

West  Approach  —  Across  the  Puente  Cabrillo . 22 

El  Puente  Cabrillo  —  From  the  Camino  Cabrillo . 24 

El  Puente  Cabrillo  —  View  of  the  Bridge  and  Pool . 26 

California  Quadrangle  and  Administration  Building  ....  28 

California  State  Building  —  The  Plaza  Fagade . 30 

California  State  Building — Frontispiece . 32 

California  State  Building  —  Transept  Window . 34 

California  State  Building  —  From  the  Northeast . 36 

California  State  Building — From  the  Lawns  to  the  South  .  .  38 

California  Quadrangle  —  Gate  of  San  Diego  . 40 

California  Quadrangle  —  Interior  View  of  the  City  Gate  ...  42 

California  Quadrangle  —  Portales  of  the  Plaza  de  Panama  .  .  44 

California  Quadrangle  —  Gateway  to  the  North  Gardens  ...  46 

California  Quadrangle  —  Entrance  from  North  Gardens  ...  48 

California  Quadrangle  —  The  Bridge  from  the  Portales  ...  50 

Fine  Arts  Building  —  Mission  Corridor  or  Portales  ....  52 

Fine  Arts  Building  — The  Main  Picture  Gallery . 54 

Chapel  of  St.  Francis  —  The  Reredos  . 56 

Chapel  of  St.  Francis  —  Lectern  and  Statue  . 58 

Chapel  of  St.  Francis  —  The  Balcony . 60 

California  Quadrangle  —  The  East  or  State  Gateway  ....  62 

El  Prado  —  The  Main  Axis  of  the  Exposition . 64 

The  Montezuma  Gardens  —  Entrance  Archway . 66 

The  Montezuma  Gardens  —  Puebla  Tower . 68 

The  Montezuma  Gardens  —  Pergola  and  California  Tower  .  .  70 

The  Montezuma  Gardens  —  Pergola  to  the  South . 72 

The  Montezuma  Gardens  —  Pergola  Walk . 74 

Russia  and  Brazil  Building  —  East  Facade . 76 

Russia  and  Brazil  Building  —  Tower  and  Bell  Gable  ....  78 

Russia  and  Brazil  Building  — Arches  of  the  Portales  ....  80 

Russia  and  Brazil  Building — South  Portales . 82 

Science  and  Education  Building  —  Tower  and  Part  of  South  Facade  84 
Science  and  Education  Building  —  The  Patio  Tower  ....  86 

Science  and  Education  Building — Patio  at  the  Southeast  Corner  88 

Science  and  Education  Building — East  Front . 90 

United  States  Building  —  Army  and  Navy  Exhibits  ....  92 

United  States  Building- — The  Arcade . 94 

Plaza  de  Panama — The  Pigeons . 96 

The  Pan-Pacific  Building  —  West  Facade . 98 

The  Pan-Pacific  Building — Profile  Looking  South . 100 

The  Foreign  Arts  Building  —  West  Facade  ....  102 

[IX] 


THE  ILLUSTRATIONS 

FACING  PAGE 

The  Foreign  Arts  Building  —  Corner  Tower  . 104 

Canadian  Building — Arcade  Connecting  the  Portales  ....  106 

Canadian  Building  —  The  Lower  Corridor . 108 

Canadian  Building — Portion  of  South  Fafade . 110 

Canadian  Building  —  The  East  Walk . 112 

Canadian  Building  —  The  Prado  Esplanade . 114 

Canadian  Building  —  The  Prado  Facade . 116 

La  Laguna  de  Las  Flores  —  Entrance  to  Prado  Arcade  .  .  .  118 

La  Laguna  de  Las  Flores  —  The  Arcade . 120 

The  Botanical  Gardens  —  The  Chapel  Apse . 122 

The  Botanical  Gardens — Pergola . 124 

The  Botanical  Gardens — The  Serra  Memorial . 126 

The  Botanical  Building  —  The  Main  Front  and  Gardens  .  .  .  128 

The  Botanical  Building  —  Exterior . 130 

The  Botanical  Building  —  Interior . 132 

Foreign  and  Domestic  Building  —  Prado  Facade . 134 

Foreign  and  Domestic  Building  —  The  Chapel  Front  ....  136 

The  Southern  California  Counties  —  Patio . 138 

The  Organ  Pavilion  —  From  the  Opposite  Arcade . 140 

The  Organ  Pavilion  —  The  Peristyle . 142 

State  Buildings  —  From  the  Theosophical  Belfry . 144 

The  New  Mexico  Building  —  A  Pueblo  Building  .....  146 

The  Theosophical  Headquarters —  Formerly  Kansas  Building  .  148 

San  Joaquin  Valley  Building  —  The  East  Front . ISO 

The  Japanese  Gardens  — The  Tea  House . 152 

Southern  California  Counties  —  The  Model  Farm . 154 


[X] 


The  ARCHITECTURE  and  the  GARDENS 
of  the  SAN  DIEGO  EXPOSITION 


THE  ARCHITECTURE 
AND  THE  GARDENS 


The  World’s  Fair  is  an  essentially  modern 
thing.  Its  whole  history  is  comprised 
within  a  period  not  much  exceeding  the  allotted 
human  span.  From  the  first  to  the  last  of  such 
expositions  there  has  been  apparent  an  almost 
constant  progress  in  size  and  in  magnificence 
until  the  exhibits  have  stretched  into  so  many 
miles  as  to  be  wholly  beyond  appreciation  on 
the  part  of  the  public — even  beyond  the  capac¬ 
ity  of  the  specialist  studying  his  own  particular 
domain.  To  house  such  enormous  congeries 
of  exhibits  enormous  groups  of  buildings  have 
become  necessary,  and  so  all  local,  ethnic,  and 
fitting  character  has  been  lost,  and  the  archi¬ 
tectural  scheme  and  style,  following  the  “easiest 
way,”  has  taken  on  a  rather  colourless,  classic 
character  with  rows  of  columns,  triumphal 
arches,  courts  of  honour,  and  the  like — all  very 
magnificent  and  often  very  beautiful  indeed,  but 
quite  unrelated  to  anything  inherent  in  the  ex¬ 
hibits,  or  to  the  great  event  which  the  Exhibition 
has,  as  a  rule,  commemorated.  Much  as  our 
museums  have  attempted  to  display  within  their 
walls  everything  in  the  nature  of  Art  and  His¬ 
tory  so  have  we,  in  these  great  museums  of 
modern  productivity  and  the  application  of 
resources,  attempted  not  a  microcosm,  but  as 
near  the  macrocosm  as  was  humanly  possible. 

[3] 


THE  ARCHITECTURE  AND  THE  GARDENS 

In  our  museums,  however,  we  are  beginning 
to  find  that  the  display  of  fewer  things,  well 
chosen  and  well  related  one  to  the  other,  is  far 
more  likely  to  arouse  joyful  appreciation.  An 
artist,  in  creating  a  work  of  beauty,  whatever  it 
may  be,  chooses  and  eliminates  his  elements 
until  he  has  formed  a  unified  whole.  Even  in 
great  old  cities  like  Florence  and  Toledo  there 
is  manifest  the  result  of  just  this  same  spirit, 
expressed  in  such  cases  however,  not  by  a  single 
artist  but  through  centuries  filled  with  artists 
working  with  the  same  ideal  in  mind  against  the 
same  historic  background. 

It  is  true  that  here  in  America  we  are  rather 
unfortunately  placed  in  this  regard,  and  this  is 
perhaps  why  we  have  turned  to  other  things, 
making  size  our  ideal,  and  as  to  our  exhibits, 
size  and  magnificence  our  only  means  of  expres¬ 
sion.  Fortunately,  however,  certain  sections  of 
our  great  country,  like  the  Southwest,  are  not 
so  bereft  of  historic  background:  For,  long 
before  the  coming  of  our  Eastern  pioneers,  the 
land  had  been  traversed  and  spied-out  by  genera¬ 
tions  of  Spanish  Conquistador es  and  priests. 
Fortunately,  too,  the  littoral  of  the  land  so 
explored  is  perhaps  the  most  beautiful  country¬ 
side  on  earth. 

Judged  by  all  ordinary  and  extraordinary 
canons  of  beauty,  the  regions  that  may,  because 
of  their  climate,  foliage,  colour  and  form,  be  held 
to  be  loveliest  are  but  few  in  number  —  the 
Riviera,  the  Bays  of  Naples  and  Salerno,  some 
of  the  Greek  Islands,  certain  mountain  valleys 
in  India,  the  Vega  of  Granada,  the  parallel  one 
of  Shiraz  —  the  list  is  almost  exhausted  now 

[4] 


THE  ARCHITECTURE  AND  THE  GARDENS 
and  the  New  World  is  not  yet  reached.  Yet  — 
except  for  the  charm  that  comes  from  works  of 
man  softened  by  centuries  of  use,  the  glamour 
given  by  ages  of  history,  the  tender  respect 
always  commanded  by  things  that  are  vener¬ 
able  —  in  Southern  California  may  be  found 
every  attraction  possessed  by  those  cited  —  the 
tenderest  of  skies,  the  bluest  of  seas,  mountains 
of  perfect  outline,  the  richest  of  sub-tropical 
foliage,  the  soft  speech  and  unfailing  courtesy 
of  the  half-Spanish,  half-Indian  peasantry  — 
even  much  in  the  way  of  legendry  that  has 
wandered  slowly  northward  in  the  wake  of  the 
padres. 

In  the  midst  of  all  this  beauty  lies  the  City 
of  San  Diego,  the  nearest  Pacific  port  in  the 
United  States  to  the  western  end  of  the  Panama 
Canal.  When  the  triumphant  realization  of 
this  great  work  was  about  to  be  accomplished 
men  cast  about  for  some  means  of  fittingly  cele¬ 
brating  an  event  that  in  a  sense,  would  be  the 
culmination  of  the  Spaniards  search  for  a  western 
route  to  the  Indies.  At  various  points  in  the 
United  States  men’s  minds  turned  to  a  World’s 
Fair  as  the  most  fitting  commemoration.  A 
number  of  such  projects  were  conceived  only 
to  be  abandoned ;  but  farther  northward,  though 
still  on  the  same  beautiful  coast,  San  Francisco 
nobly  carried  through  a  World’s  Fair  that  as  all 
know  was  very  large,  very  beautiful  and  very 
successful,  but  after  all,  no  more  than  the  most 
recent  of  a  great  series  of  not  very  dissimilar 
things. 

At  San  Diego  the  case  was  different.  Though 
rapidly  increasing  in  population,  San  Diego  can- 

[5] 


THE  ARCHITECTURE  AND  THE  GARDENS 
not  yet  be  considered  a  great  city,  and  possesses 
far  less  in  the  way  of  resources  than  San  Fran¬ 
cisco.  Yet  San  Diego  did  project  and  did  carry 
out  a  smaller  exhibition,  not  a  World’s  Fair  in 
the  strictest  sense  of  the  term,  but  rather  one 
that  was  cultural  and  regional.  It  endeavored 
to  reflect  the  past  of  that  great  section  of  the 
country  of  which  it  formed  the  natural  seaport, 
and  to  obtain,  in  so  far  as  this  was  possible, 
something  of  the  effect  of  the  old  Spanish  and 
Mission  days  and  thus  to  link  the  spirit  of  the 
old  seekers  of  the  fabled  Eldorado  with  that  of 
the  twentieth  century. 

In  Balboa  Park,  a  fourteen-hundred  acre 
tract  of  mesa  land  broken  by  canadas  lying  in 
the  very  heart  of  the  city,  though  rising  well 
above  the  more  thickly  settled  sections  thereof, 
and  with  an  uninterrupted  and  sweeping  view 
of  San  Diego  Bay,  the  “Harbor  of  the  Sun,” 
San  Diego  possessed  an  absolutely  perfect  site. 

'  Within  this  Park  the  Fair  Buildings  themselves 
were  strictly  limited  to  a  space  that  by  com¬ 
parison  with  the  Panama-Pacific  Exposition  at 
San  Francisco  seemed  almost  paltry.  Within 
these  confines  was  built  a  city-in-miniature 
wherein  everything  that  met  the  eye  and  ear  of 
the  visitor  were  meant  to  recall  to  mind  the 
glamour  and  mystery  and  poetry  of  the  old 
Spanish  days. 

Since  this  book  is  to  deal,  both  in  pictures 
and  words,  with  the  Architecture  of  this  little 
city,  there  is  little  reason  and  less  need  why  1 
should  wish  to  touch  upon  this  side  of  the  exhi¬ 
bition  in  what  is,  after  all,  merely  an  Intro¬ 
duction.  But  it  does  seem  to  me  to  be  my  duty, 

[6] 


THE  ARCHITECTURE  AND  THE  GARDENS 
as  it  certainly  is  my  pleasure,  to  point  out  here 
the  vision  that  has  guided  me  and  those  asso¬ 
ciated  with  me  in  the  designing  of  the  Panama- 
California  Exposition  as  a  whole  and  in  the 
placing  of  its  individual  buildings. 

Between  the  site  and  that  boundary  of 
Balboa  Park  from  which  it  is  most  effectively 
and  readily  reached,  runs  a  great  cleft  in 
the  earth,  the  Canon  Cabrillo.  Any  approach 
from  the  west  must  cross  this  canon,  so,  quite 
as  a  matter  of  course,  we  all  visualized  a  bridge 
whose  eastern  end  should  terminate  in  a  great 
pile  of  buildings  that  should  be  at  once  the  crux 
of  the  whole  composition  and,  with  the  bridge, 
should  ever  remain  the  focal  and  dominant 
point  of  the  city  when  the  Fair,  and  even  the 
memory  of  the  Fair,  had  passed  utterly. 

It  was  not  believed  that  the  “Temporary 
Buildings”  should  be  other  than  temporary,  for 
it  must  be  remembered  that  Exposition  Archi¬ 
tecture  differs  from  that  of  our  everyday  world 
in  being  essentially  of  the  fabric  of  a  dream  — 
not  to  endure  but  to  produce  a  merely  tempo¬ 
rary  effect.  It  should  provide,  after  the  fashion 
that  stage  scenery  provides  —  illusion  rather 
than  reality.  So  it  must  be  confessed  that  such 
Architecture  comes  very  close  in  certain  direc¬ 
tions  to  being  actually  stage  scenery.  The 
reveals  of  its  windows  and  doors,  when  studied 
critically,  are  observed  to  be  pitifully  thin,  while 
its  various  features  and  projections  are,  consid¬ 
ered  with  reference  to  what  is  behind  them, 
playful  and  meaningless  rather  than  purposeful 
and  logical  expressions  of  their  interior.  So  at 
San  Diego,  the  Bridge,  the  domed-and-towered 

[  7  ] 


THE  ARCHITECTURE  AND  THE  GARDENS 
California  State  Building  and  the  low-lying  Fine 
Arts  Building  were  to  remain;  the  rest  was  to 
be  swept  away  utterly. 

The  Temporary  Buildings  were  formally  and 
informally  set  on  either  side  of  a  wide  tree-lined 
central  avenue  —  the  Prado —  a  prolongation  of 
the  axis  of  the  bridge  that  terminated  at  the 
east  upon  the  edge  of  another  great  cleft,  a 
deep,  broad  canon  which  stretches  the  length 
of  the  park.  When  the  Fair  was  over  this 
avenue  should  become  the  central  allee  of  a 
great  and  formally-laid-out  public  garden,  some¬ 
thing  that  should  rival  the  most  famous  Old 
World  examples.  The  various  avenues,  pathways, 
pools,  watercourses,  et  cetera,  that  were  laid 
out  for  the  purposes  of  the  Fair  were  to  remain 
but  the  cleared  sites  of  the  Temporary  Build¬ 
ings  were  to  be  planted  and  gardened  until  they 
took  their  place  as  integral  portions  of  the 
scheme.  In  the  years  to  come,  when  the  trees 
and  flowers  that  grow  to  such  unrivalled  per¬ 
fection  in  San  Diego  should  have  attained  their 
full  magnificence,  this  domain  would  then  be¬ 
come  a  public  plaisance  that  might  well  be  the 
envy  of  all  other  American  cities. 

The  designs  of  the  Bridge,  the  great  Cali¬ 
fornia  State  Building  and  the  Fine  Arts  Building 
were  intended  to  express  and  to  ensure  per¬ 
manence.  As  their  method  of  construction  is, 
to  all  intents  and  purposes,  that  of  many  of  the 
great  monuments  of  the  past  that  have  come 
down  to  us,  and  as  the  purposes  for  which  they 
were  intended  are  as  permanent  as  themselves, 
so  should  they  be  the  only  structures  to  remain 
in  such  a  garden.  Only  in  such  a  climate  and 

[8] 


THE  ARCHITECTURE  AND  THE  GARDENS 
amid  such  surroundings  are  open-air  concerts 
possible,  therefore,  the  Great  Organ,  that  was 
the  gift  of  one  of  San  Diego’s  most  munificent 
citizens,  would  remain,  faced  by  its  Auditorium 
surrounded  by  trees  and  open  to  the  stars. 
And  so,  too,  would  the  Botanical  Building,  under 
whose  protecting  treillage  grow  in  rank  luxu¬ 
riance  the  plants  of  other  and  hotter  countries. 

In  the  Introduction  to  a  book  dealing  with 
the  buildings  of  an  Exposition  it  is  perhaps 
strange  to  say  quite  flatly  that  so  many  build¬ 
ings  that  have  given  pleasure  to  so  many  should 
be  destroyed;  but,  after  all,  this  was  the  para¬ 
mount  idea  in  the  minds  of  the  Fair’s  designers, 
and  only  by  thus  razing  all  of  the  Temporary 
Buildings  will  San  Diego  enter  upon  the  heritage 
that  is  rightfully  hers. 

Bertram  Grosvenor  Goodhue. 


[9] 


ATRIUMPHo/z^SPANISH- 
COLONIAL  STYLE 


IT  is  the  claim  of  San  Diegans  that  the  Panama- 
California  Exposition  is  unlike  any  that  has 
preceded  it,  a  claim  that  would  seem  to  be  amply 
justified,  for  in  more  than  one  direction  it  marks 
a  new  development  in  the  planning  of  fairs. 

The  World’s  Columbian  Exposition,  held  at 
Chicago  in  1893,  created  a  type  that  had  been 
followed  by  all  subsequent  fairs  in  America.  Its 
planners  adopted  the  scheme  of  the  Paris  Expo¬ 
sition  of  1889,  which  consisted  of  a  large  open 
place  surrounded  by  a  symmetrical  and  monu¬ 
mental  arrangement  of  buildings.  The  Chicago 
Fair  gave  American  architecture  a  well-needed 
impetus.  Its  long  rows  of  orderly  colonnades, 
its  large  open  spaces,  gave  an  impression  of  the 
monumental  that  was  quite  new  to  this  country. 
The  general  scheme  of  this  arrangement  devel¬ 
oped  a  long  succession  of  similarly  planned  fairs, 
of  which  the  Pan-American  at  Buffalo,  and  the 
one  at  St.  Louis  were  the  most  characteristic. 
They  were  all  quite  reminiscent  of  Beaux- Arts 
“Grand  Prix,”  with  well  defined  axes,  large  open 
places  and  above  all  the  simplicity  which  gave 
one  a  view  of  everything  at  a  single  glance.  But 
as  we  look  back,  we  must  admit  that  some  of  our 
later  fairs  have  been  perhaps  more  decorative 
on  paper  than  in  reality.  Their  example  has 
had  a  decided  influence  on  American  archi- 

[10] 


A  TRIUMPH  OF  THE  SPANISH-COLONIAL  STYLE 
tectural  embellishment  and  more  particularly  on 
city  planning.  From  them  has  developed  the 
craze  for  the  grouping  of  public  buildings  in  and 
around  a  central  public  square,  as  exemplified 
in  the  civic  centres  of  Cleveland  and  St.  Louis. 
In  fact,  for  some  time  city  planning  has  come 
to  mean  to  us  a  great  open  place  surrounded 
by  colonnades. 

We  have  imitated  the  Piazzo  San  Marco  in 
Venice,  the  squares  of  St.  Peter’s  and  the 
Capitol  in  Rome.  But  in  so  doing  we  have 
perhaps  forgotten  the  charm  of  the  approach  to 
these  big  places.  Their  impression  gains  in 
force  from  the  contrast  with  the  narrow  streets 
that  give  access  to  them,  whose  interest  is  due 
not  to  any  symmetrical  unity,  but  to  the  acci¬ 
dental  variety  of  daily  life.  On  the  one  hand, 
the  great  focal  points  and  the  main  arteries  of 
traffic  speak  of  the  dignity  of  government  and 
the  easy  movement  of  commerce.  But  we  need 
also  the  more  intimate  side  of  city  planning,  the 
by-ways  with  their  little  shops,  the  occasional 
drinking  fountain  at  a  street  corner,  the  glimpse 
of  some  secluded  garden  through  a  half-open 
gate. 

As  the  Chicago,  the  St.  Louis  and  the  Buffalo 
expositions  were  a  glorification  of  the  monu¬ 
mental  in  city  planning,  so  the  San  Diego  Fair 
is  the  apotheosis  of  all  those  elements  of  charm 
and  variety  that  we  associate  with  the  cities  of 
Italy  and  Spain.  It  has  the  varied  symmetry 
and  underlying  order  of  the  Latin  cities  without 
the  squalor  of  the  crowded  quarters;  it  is  the 
glorification  of  the  romantic  in  city  planning  as 
the  Gothic  Cathedral  was  in  building. 

[  11  1 


A  TRIUMPH  OF  THE  SPANISH-COLONIAL  STYLE 

The  architectural  style  of  our  fairs  in  the 
past  has  had  no  particular  significance.  Our 
realty  American  architectural  inheritance  has 
been  found  too  limited  in  its  use.  In  the  East 
the  Colonial  style  has  lacked  the  force  and 
adaptability  that  seemed  necessary  for  the 
gigantic  displays  of  our  fairs.  So  we  have 
turned  for  our  models  to  European  sources  and 
too  often  to  French  books. 

When  the  style  of  architecture  to  be  used  at 
the  Panama-California  Exposition  was  first 
under  consideration,  it  was  natural  that  the 
Missions  of  California  should  have  been  thought 
of  as  models.  Mr.  Bertram  G.  Goodhue,  who 
at  that  time  had  been  chosen  Consulting  and 
Advisory  Architect,  suggested  that  in  spite  of 
its  charm  this  style  was  too  limited  in  its 
resources.  On  his  advice,  the  Spanish-Colonial 
style  of  Mexico,  of  which  our  Mission  style  was 
an  outgrowth,  was  decided  upon,  not  only 
because  of  this  style’s  historical  significance  in 
California  but  because  it  is  most  suited  to  the 
climate,  and  also  has  the  gaiety  and  color  so 
necessary  for  a  fair. 

The  question  of  appropriateness  in  the  choice 
of  an  architectural  style  for  an  exposition  is  one 
that  has  been  seldom  considered,  either  in  our 
own  country  or  in  Europe.  Where  no  estab¬ 
lished  style  imposes  itself  the  tendency  is  to 
choose  arbitrarily  the  most  monumental  type  of 
building,  as  we  have  seen  at  most  of  our  older 
fairs.  To  this,  however,  there  have  been  some 
few  exceptions,  the  most  notable  being  the 
Exposition  of  1911  at  Rome  where  the  models 
of  antiquity  were  housed  in  the  baths  of  Diocle- 

[12] 


A  TRIUMPH  OF  THE  SPANISH-COLONIAL  STYLE 
tian,  while  the  work  of  the  Middle  Ages  and  the 
Renaissance  had  as  their  setting  the  wall  of  the 
old  Papal  Castle  of  St.  Angelo.  In  somewhat 
the  same  way  the  San  Diego  Fair  has  given  a 
proper  setting  to  an  exposition  in  Southern 
California  by  the  use  of  the  Mexican-Spanish 
style  of  architecture. 

A  truly  great  architecture  grew  up  in  Mexico 
after  the  time  of  the  Conquest  of  Cortez.  It 
was  probably  not  on  account  of  any  lack  of 
desire  on  the  part  of  the  early  Fathers  that  this 
architecture  was  not  transplanted  to  California 
in  the  days  of  the  Missions.  It  is  apparent  in 
their  simple  crude  touches  of  ornament,  that  the 
Padres  were  trying  to  simulate  the  richness  of 
the  churches  of  Mexico  City  and  Puebla  —  they 
were  pitifully  limited,  however,  not  only  in 
wealth  but  also  in  the  skill  of  the  workmen  they 
had  at  hand. 

In  Mexico  there  seems  to  have  been  not  only 
unlimited  wealth  and  architects  who  could  plan 
in  a  big  way,  but  also  native  workmen  com¬ 
petent  to  execute  most  intricate  carving.  Dur¬ 
ing  three  centuries  these  Aztec  and  Mextizo 
artisans  developed  a  style  of  artistic  workman¬ 
ship  that  combined  not  only  the  crowded  — 
almost  Oriental  —  splendor  of  Aztec  carving  and 
love  of  rich  coloring,  but  much  of  the  best  of  the 
artistic  inheritance  of  the  Spanish  masters. 

The  architectural  styles  of  Spain  in  all  its 
various  periods  have  been  strongly  marked  by 
characteristics  that  differentiate  them  from 
those  of  Italy  and  France.  While  we  find  in 
Spain  both  Classic  and  Gothic  work,  whose 
general  forms  are  obviously  derived  from  these 

[  13  } 


A  TRIUMPH  OF  THE  SPANISH-COLONIAL  STYLE 
other  nations,  the  manner  of  their  use  is  char¬ 
acteristically  national.  The  Oriental  heritage, 
due  to  the  long  sojourn  of  the  Moors  in  Spain, 
had  a  profound  influence  on  the  taste  of  the 
people.  From  these  Oriental  invaders  the  Span¬ 
iards  derived  the  great  surfaces  of  blank  wall 
with  occasional  spots  of  luxuriant  ornament  that 
characterize  nearly  all  their  work.  From  them 
also  comes  the  love  of  bright  color  shown  in  the 
use  of  polychrome  tiles  and  rich  fabrics,  and  in 
the  painting  and  gilding  of  sculpture  and  orna¬ 
mental  motives.  While  the  large  constructive 
forms,  particularly  vaults  and  domes,  are  frankly 
and  simply  expressed,  the  ornament,  as  in  the 
work  of  the  Orient,  is  rather  an  incrustation,  a 
mere  surface  decoration,  than  a  pretense  at 
logical  construction. 

It  is  this  manner  of  using  ornament  for  the 
mere  joy  of  the  spotting,  without  any  pretense 
at  constructive  meaning  that  characterizes  Span¬ 
ish  work.  And  this  it  is  that  forms  the  basis 
of  the  Mexican-Colonial  architecture.  In  it  all 
pretense  at  constructive  logic  in  decoration  is 
abandoned,  and  the  richness  of  the  ornament 
contrasting  with  the  plain  surfaces  adjoining  is 
considered  a  sufficient  justification  of  its  use. 

The  particular  style  used  by  the  Spaniards 
in  Mexico  was  rarely  the  Plateresque  —  the 
“style  of  the  silversmiths” — which  would  have 
been  too  delicate  for  the  native  workmen  to 
execute  and  which  had  already  been  practically 
abandoned  in  Spain  itself,  but  the  Churriguer- 
esque  and  the  Baroque.  Depraved  these  styles 
are  called,  the  one  with  its  ever  broken  and 
twisted  mouldings,  the  other  with  its  rich 

[14] 


A  TRIUMPH  OF  THE  SPANISH-COLONIAL  STYLE 
crowded  carving,  and  depraved  we  may  count 
them,  if  we  are  of  the  school  that  thinks  the 
purpose  of  architectural  ornament  is  always  to 
state  some  fact  of  construction.  The  Mexican 
architects  and  their  workmen  were  certainly  not 
of  this  school.  They  broke  their  mouldings, 
turned  and  curved  them  and  multiplied  their 
ornament  for  the  pure  joy  it  gave  them  to  see 
the  sparkle  of  the  sunlight  on  their  white  walls. 
That  they  did  not  lack  self-control  is  shown  by 
the  fact  that  they  concentrated  their  ornament 
so  that  it  should  contrast  with  the  great  bare 
expanses  of  plain  surfaces. 

The  execution  of  the  work  by  the  Aztec 
carvers  has  a  naive  crudeness  that  is  not  lacking 
in  charm.  But  the  attraction  of  this  style  is 
not  in  the  detail.  It  is  rather  in  the  massing 
of  the  ornament,  in  its  concentration  at  just  the 
point  where  it  will  be  the  most  effective  and  will 
best  contrast  with  the  blank  spaces,  the  general 
grouping  of  buildings  with  their  many  domes, 
towers  and  turrets,  and  the  rich  use  of  color. 
All  these  elements  have  been  welded  at  San 
Diego  to  make  what  is  perhaps  the  most  com¬ 
pletely  unified  fair  that  America  has  had. 

As  far  back  as  1909,  a  group  of  the  leading 
citizens  of  San  Diego  decided  to  celebrate  the 
completion  of  the  Panama  Canal  by  means  of 
a  fair.  By  good  fortune  in  the  centre  of  the 
city  a  great  tract  of  1,400  acres  had  been  set 
apart  as  a  public  park,  and  somewhere  within 
its  confines  it  was  decided  the  buildings  should 
be  placed.  The  location  first  selected  was  a 
small  hillock  in  the  corner  nearest  the  business 
portion  of  the  city.  For  this  site  the  first 

[  15  ] 


A  TRIUMPH  OF  THE  SPANISH-COLONIAL  STYLE 
studies  in  the  way  of  general  plans  were  made. 
It  was  at  this  time  that  on  account  of  his  knowl¬ 
edge  of  and  sympathy  for,  and  experience  in 
the  use  of  the  Spanish  Colonial  styles  of  archi¬ 
tecture,  Mr.  Bertram  G.  Goodhue  was  chosen 
to  act  as  Consulting  and  Advisory  Architect. 
And,  on  account  of  his  wide  experience  in  the 
actual  construction  and  management  of  fairs  and 
their  buildings,  Mr.  Frank  P.  Allen,  Jr.,  was 
summoned  from  Seattle  to  act  as  Director  of 
Works.  It  was  the  latter  who  was  bold  and 
far-seeing  enough  to  point  out  to  the  citizen’s 
committee  the  inadequacy  of  the  site  selected 
and  who  suggested  the  one  finally  adopted. 

A  vitally  essential  feature  of  both  the  original 
and  the  finally  adopted  sites  was  a  great  bridge 
spanning  the  Canon  Cabrillo.  The  finally 
adopted  site  was  not  only  far  ampler  and  far 
better  adapted  to  the  purpose  for  which  it  was 
to  be  used,  but  it  permitted  the  making  of  the 
entrance  group  with  its  approach  over  the 
bridge  a  very  much  more  effective  and  archi¬ 
tecturally  important  group  than  would  ever 
have  been  possible  on  the  original  site. 

The  dominant  note  of  the  fair  is  unques¬ 
tionably  found  in  the  California  State  and  the 
Fine  Arts  Buildings,  the  Permanent  Group  that 
encloses  the  Plaza  de  California,  an  arcaded 
enclosure  entered  through  a  sturdy,  monumental 
gateway.  The  Plaza  de  California  is  surrounded 
by  exhibition  halls  on  three  sides  set  behind  an 
arcade  on  the  lower  storey.  These  three  sides 
are  quite  without  ornament,  and  have  all  the 
heavy  massiveness  and  crude  simplicity  of  the 
Mission  style. 


[16] 


A  TRIUMPH  OF  THE  SPANISH-COLONIAL  STYLE 

On  the  other  side  is  the  California  State 
Building  with  its  rich  frontispiece,  as  wild  with 
broken  lines  of  mouldings  and  crowded  orna¬ 
ment  as  any  cathedral  front  of  Old  Mexico. 
Next  to  the  frontispiece,  at  one  corner  of  the 
dome,  rises  the  tower  of  the  California  Building 
which  is  echoed  in  the  less  permanent  turrets  of 
the  Southern  California  counties,  the  Science  and 
Education  and  other  Buildings.  The  style  of 
modelling  of  the  frontispiece,  though  in  some¬ 
what  cruder  form,  is  to  be  found  throughout 
the  fair.  The  tower  with  its  brilliant  tiles  from 
any  point  of  view  dominates  everything  but  is 
most  picturesque  and  impressive  as  one  ap¬ 
proaches  by  the  Puento  Cabrillo.  Here  one  is 
forcibly  reminded  of  the  approach  to  Toledo 
over  the  River  Tagus. 

As  early  as  1911  the  general  plan  of  the 
Exposition  with  all  the  salient  points  as  finally 
executed,  was  worked  out  under  Mr.  Goodhue’s 
direction.  This  plan  was  carefully  studied,  not 
only  with  a  view  to  the  effect  it  would  produce 
during  the  year  1915  merely,  but  also  so  that 
when  the  temporary  buildings  had  all  disap¬ 
peared  there  would  remain  the  nucleus  of  a  great, 
formally  planted  domain  after  the  grand  man¬ 
ner  of  the  great  European  examples — Versailles 
and  St.  Cloud.  The  Permanent  Group  was 
chosen  by  Mr.  Goodhue  to  be  carried  out  by 
himself  as  a  member  of  the  then  existing  firm 
of  Cram,  Goodhue  &  Ferguson. 

The  unity  of  the  fair  was  due  to  a  great 
extent  to  the  co-operation  of  those  who  carried 
on  the  work  at  San  Diego.  First,  to  the  Director 
of  Works,  Mr.  Frank  P.  Allen,  Jr.,  and  under 

[17] 


A  TRIUMPH  OF  THE  SPANISH-COLONIAL  STYLE 
whose  supervision  were  executed  all  but  the 
Permanent  Group.  Nor  must  it  be  supposed 
that  Mr.  Allen’s  share  in  the  work  ended  here. 
For  example,  the  highly  successful  planting  was 
done  under  his  direction. 

Though  possessing  no  official  title,  we  should 
not  forget  Mr.  Carleton  Monroe  Winslow,  who 
was  responsible  for  the  designing,  subject  to 
Mr.  Goodhue’s  criticism,  of  most  of  the  tempo¬ 
rary  buildings. 

Clarence  S.  Stein. 


[18] 


ILLUSTRATIONS  and  DESCRIPTIVE 
NOTES  of  the  ARCHITECTUE  and  the 
GARDENS  of  the  SAN  DIEGO 
EXPOSITION 


THE  FIRST  GLIMPSE 
EXPOSITION  FROM  THE  WEST  LAWN 


The  Panama-California  Exposition  occupies 
an  extensive  and  irregular  mesa  in  the  cen¬ 
tral  and  westerly  portion  of  Balboa  Park,  a 
civic  domain  of  fourteen  hundred  acres 
located  within  the  City  of  San  Diego.  This 
mesa  is  bounded  by  fairly  deep  and  irregular 
valleys  or  arroyos,  some  of  which  penetrate 
into  the  very  midst  of  the  Exposition. 
Along  the  western  edge  of  Balboa  Park 
stretches  a  broad,  beautiful  lawn  filled  with 
trees  and  shrubs  of  many  kinds  and  separ¬ 
ated  from  the  Exposition  by  the  deep 
Canon  Cabrillo.  These  green,  velvety 
lawns,  together  with  the  open  spaces 
afforded  by  the  grouping  of  the  eucalyptus 
and  other  trees,  frame  the  first  glimpses  and 
views  of  the  distant  Exposition  when 
approached  by  way  of  the  West  Gate. 
This,  the  best  first  view  of  the  Fair,  gives 
one  the  impression  of  a  city  of  Spanish 
romance,  with  pearl  gray  walls  and  towers 
and  flashes  of  color  from  tile  domes  and 
roofs,  set  in  the  vivid  green  of  the 
wooded  canyon  slopes. 


[20] 


WEST  APPROACH 
ACROSS  THE  PUENTE  CABRILLO 


There  are  three  entrances  to  the  Exposition : 
the  East  Gateway,  approached  by  drive  and 
trolley-car  winding  up  from  the  city  through 
the  southerly  portion  of  the  Park;  the 
North  Gate  and  the  West  Gate,  the  latter 
by  far  the  most  impressive  and  dramatic  for 
the  visitor’s  first  view. 

The  long  reach  of  straight  avenue,  bordered 
with  green  up  to  the  canyon’s  edge,  crosses 
the  Puente  Cabrillo  to  the  gateway  at  the 
Exposition’s  focus,  the  California  Quad¬ 
rangle.  This  street  continues  eastward  as 
the  Exposition’s  main  axis,  and  its  name, 
El  Prado,  recalls  the  principal  avenue  of 
many  a  Spamsh-American  city.  Pots  con¬ 
taining  giant,  blooming  century  plants,  mark 
the  beginning  of  the  bridge  proper,  beyond 
which  one  gets  wonderful  views  north  and 
south  of  the  Canon  Cabrillo,  the  city  and 
the  distant  sea.  Facing  eastward  a  pano¬ 
rama  of  the  Exposition  is  laid  out  before  the 
visitor,  terminating  at  the  north  in  the 
adobe  walls  of  the  Indian  village  and  at 
the  south  by  the  New  Mexico 
Building. 


[22] 


EL  PUENTE  CABRILLO 
FROM  THE  CAMINO  CABRILLO 


Winding  through  the  bottom  of  the  Canon 
Cabrillo  is  the  drive  called  the  Camino 
Cabrillo.  From  this  road  is  a  splendid  view 
of  the  bridge  towering  above  on  graceful 
arches  requiring  no  ornament  or  moulding 
to  enhance  its  simple  lines.  This  permanent 
reinforced  concrete  structure  is  of  cantilever 
design  and  one  well  adapted  to  the  climate 
of  the  locality.  Frank  P.  Allen,  Jr.,  was  its 
designer  and  constructor,  Thomas  B.  Hun¬ 
ter,  the  engineer.  Its  length  is  1,505  feet, 
including  the  approaches,  that  of  the  bridge 
alone  being  about  450  feet.  The  height 
above  the  surface  of  the  pond  is  110  feet. 
Vines  and  shrubbery  soften  the  springing 
of  the  piers  from  the  solid  earth  while  slender 
Italian  cypresses  at  either  end  help  to 
accentuate  its  vertical  lines.  By  night  it  is 
a  thing  of  mystery  with  its  towering  soft 
gray  arches  contrasted  against 
the  cobalt  sky. 


[24] 


EL  PUENTE  CABRILLO 
VIEW  OF  THE  BRIDGE  AND  POOL 

Bathing  the  base  of  the  piers  of  the  bridge 
is  a  small  lake  or  pool  called  the  Laguna  del 
Puente.  Its  surface  is  dotted  with  the 
bright  blossoms  and  green  pads  of  many 
varieties  of  water-lilies.  At  its  upper  end 
are  rushes,  bamboo  and  pampas  grass,  form¬ 
ing,  all  told,  a  picture  of  refreshing  beauty 
during  the  dry  season  when  the  hills  beyond 
the  Exposition  are  clothed  in  the  brown, 
gray  and  soft  purple  of  summer  verdure. 

A  view  of  the  bridge  and  its  reflection 
together  with  the  California  Building  spring¬ 
ing  from  the  hill  beyond,  make  one  of  the 
most  charming  and  impressive  pictures 
of  the  Exposition. 


[26] 


CALIFORNIA  QUADRANGLE 
AND  ADMINISTRATION  BUILDING 


The  planting  of  the  hillsides  surrounding 
the  Exposition  has  been  most  skillfully 
executed,  grading  from  intense  richness  at 
the  perimeter  of  the  buildings  into  the 
indigenous  growth  of  live  oak,  mesquite, 
sage  brush  and  cactus.  Near  the  buildings 
at  the  west  end  of  the  Exposition  are  groves 
of  Acacia  Bailey  ana  which  in  the  spring¬ 
time  are  clothed  with  soft  aromatic  plumes 
of  golden  yellow.  The  Administration 
Building,  to  the  left  of  the  California  Quad¬ 
rangle,  helps  to  balance  the  group  and  to 
soften  the  abruptness  of  its  large  propor¬ 
tions  when  seen  from  the  bridge.  The 
south  wing  of  the  Fine  Arts  Building  of  the 
California  Quadrangle  contains  a  chapel 
expressed  on  the  exterior  by  a  charming 
Carmelite  belfry  containing  a  century-old 
Spanish  bell  brought  from  Gibraltar.  The 
sturdy  buttresses  of  the  south  fagade  recall 
those  of  the  Mission  San  Gabriel.  The 
architect  for  the  California  Quadrangle  was 
Bertram  Grosvenor  Goodhue.  The  Admin¬ 
istration  Building  was  designed  by  Carleton 
Monroe  Winslow,  its  practical  require¬ 
ments  by  Frank  P.  Allen,  Jr. 


CALIFORNIA  STATE  BUILDING 
THE  PLAZA  FACADE 


The  California  State  Building  is  almost 
startling  in  the  perfection  of  its  composition. 
Complete  in  itself  it  is  enhanced  by  the 
flanking  wings  connecting  it  with  the  Fine 
Arts  Building  to  the  south.  In  plan  it  is 
in  the  form  of  a  Greek  cross  with  shallow 
transepts,  its  tower  placed  within  the  angle 
formed  by  the  east  and  south  transepts,  an 
arrangement  almost  unique  though  recalling 
somewhat  that  of  the  Church  of  Monte- 
pulciano,  Italy.  From  the  four  corner  piers 
of  its  rotunda,  spring  mighty  arches,  sup¬ 
porting,  without  an  intervening  drum,  the 
dome  which  culminates  in  a  lantern  of  rare 
beauty. 

The  general  color  of  the  building  is  a  soft 
warm  gray  relieved  by  the  sage-green  wood¬ 
work  of  the  windows,  the  bright  brown  of 
the  principal  doorway,  and  the  rich  colors 
of  the  high  glazed  tile  —  blue,  green,  yellow, 
jet  black  and  white.  The  iron  work  is  a 
deeper  green. 

mi  1  *  1  1  *  _  A  _  ^  — a  '  — 1  »  «'~V  Et  •“  A  1  t  ^  ^  S** 


vising  architect  of  the 
Exposition. 


super- 


[30] 


£ 


CALIFORNIA  STATE  BUILDING 
FRONTISPIECE 


Competing  with  the  tower  or  campanielo, 
the  richly  ornamented  frontispiece  is  almost 
always  the  principal  architectural  element 
of  Spanish  and  Mexican  buildings.  The 
frontispiece  of  the  California  State  Building 
is  no  exception  to  this  general  rule  and  its 
importance  is  accentuated  by  its  striking 
contrast  with  the  plain,  plastered  walls 
adjoining. 

The  frontispiece  forms  an  historical  hall  of 
fame  for  eminent  names  connected  with 
San  Diego,  expressed  in  statues  of  much 
beauty,  the  sculptured  work  of  Furio  and 
Attilio  Piccirilli.  At  the  top  is  Father  Juni- 
pero  Serra,  below,  busts  of  Charles  Fifth  and 
Philip  Second,  of  Spain;  at  either  side  of  the 
window,  Juan  Rodriguez  Cabrillo,  the  first 
white  man  to  step  on  the  western  coast  of 
the  United  States,  in  1542,  and  the  Spanish 
navigator,  Viscaino.  Occupying  the  low¬ 
liest  niches  are  the  Franciscan,  Father 
Jayme,  first  martyr  of  the  Mission  period, 
and  Father  de  la  Ascension,  the  Carmelite 
histriographer  who  accompanied  Viscaino. 
Immediately  above  them  are  busts  of  Van¬ 
couver  the  first  English  navigator  to  enter 
the  harbor  of  San  Diego,  and  Portola,  the 
first  Spanish  Governor  of  California. 


[32] 


CALIFORNIA  STATE  BUILDING 
TRANSEPT  WINDOW 


The  transepts  of  the  California  State  Build¬ 
ing  are  barrel  vaulted  with  the  vaults  show¬ 
ing  from  the  outside  instead  of  being  covered 
with  supervaulting  or  roofs.  Galleries  are 
placed  in  these  transepts  above  which  are 
large,  mullioned  windows  ornamented  on  the 
exterior  with  rich  Churrigueresque  frames. 
Above  the  windows  are  conventionalized  or 
heraldicized  seals  of  the  State  in  delicate 
relief  while  below  is  the  motto,  “Eureka.” 
Other  coats-of-arms  appropriate  to  the 
building  are  worked  into  the  frontispiece  — 
Mexico,  Spain  and  Portugal  being  repre¬ 
sented,  with  that  of  the  United  States  at 
the  point  of  honor  above  the  statue  of  Serra. 
The  ornament  of  the  California  Building  was 
modeled  by  Horatio  and  Thomas  Piccirilli, 
the  stonework  being  executed 
in  San  Diego. 


[34] 


CALIFORNIA  STATE  BUILDING 
FROM  THE  NORTHEAST 

The  view  from  the  gardens  at  the  rear  of 
the  building  reveals  perfectly  the  fine  com¬ 
position  of  the  structure.  Low-domed  pavi¬ 
lions  fill  the  angles  formed  by  the  transepts 
which  together  with  the  half-dome  of  the 
apse  are  covered  with  colored  tile  worked  in 
geometric  patterns. 

Around  the  tiled  base  of  the  great  central 
dome  runs  the  quotation  in  black  on  a  white 
background,  Terram  Frumenti  Hordei, 
AC  VlNARUM,  IN  QUA  FlCUS  ET  MaLOGRANATA 

et  Oliveta  Nascuntur,  Terram  Olei  ac 
Mellis,  from  the  Vulgate  of  St.  Jerome, 
translated,  “A  land  of  wheat,  and  barley, 
and  vines,  and  fig-trees,  and  pomegranates; 
a  land  of  oil  olive,  and  honey.”  a  motto 
singularly  appropriate  to  Southern  Cali¬ 
fornia.  All  of  the  glazed  tile,  while  designed 
by  the  architect  of  the  building,  is  the  work 
of  Walter  Nordhoff  at  his  potteries  in 
National  City,  San  Diego,  after  much  study 
of  ancient  Spanish  and  Moorish  ceramics. 
The  adjoining  garden  is  planted  with  flowers 
following  the  season,  forming  with  the  build¬ 
ing  an  ever-changing  picture 
of  great  beauty. 


[36] 


CALIFORNIA  STATE  BUILDING 
FROM  THE  LAWNS  TO  THE  SOUTH 


From  every  direction  the  principal  building 
of  the  Exposition  rises  with  dominating 
charm.  From  the  mesa  to  the  south  the 
visitor  can  stop  and  study  the  tower  without 
his  attention  being  drawn  to  other  inter¬ 
esting  details  of  the  building,  by  reason  of 
the  screen  formed  by  the  trees  with  which 
the  lawns  are  planted.  The  tower  is  exactly 
two  hundred  feet  high  from  the  pavement 
to  the  top  of  the  weathervane;  the  lower 
portion  is  absolutely  plain,  pierced  with  a 
few  small  windows.  The  upper  part  con¬ 
sists  of  three  belfry  storeys  surmounted  by 
a  bell-shaped  tile  dome  encircled  with  a 
cincture  and  completed  with  a  great  wrought 
iron  weathervane  in  the  form  of  a  Spanish 
ship.  The  Churrigueresque  and  the  use  of 
colored  tile  is  especially  interesting,  spar¬ 
ingly  used  in  the  first  storey,  increasing  in 
quantity  as  it  ascends,  and  culminating  in 
the  dome  with  extraordinary  rich¬ 
ness  and  effectiveness. 


[38] 


CALIFORNIA  QUADRANGLE 
GATE  OF  SAN  DIEGO 


This  gateway,  the  principal  ceremonial 
entrance  to  the  Exposition,  is,  in  a  certain 
sense,  a  part  of  the  Fine  Arts  Building 
which  was  erected  by  the  city  of  San  Diego, 
which  fact  has  been  marked  by  the  coat-of- 
arms  of  the  city  at  the  crown  of  the  arch. 

A  deep  archway  is  flanked  by  engaged  Doric 
orders  supporting  a  rich,  fructrated  entab¬ 
lature  enclosing,  in  the  spandrels,  beautiful 
figures  symbolizing  the  Atlantic  and  Pacific 
oceans  joining  waters  together  in  commemo¬ 
ration  of  the  opening  of  the  Panama  Canal, 
the  object  of  building  the  Exposition.  These 
figures  are  the  work  of  Furio  Piccirilli.  The 
architect  of  the  Fine  Arts  Building  was 
Bertram  Grosvenor  Goodhue. 


[40] 


CALIFORNIA  QUADRANGLE 
INTERIOR  VIEW  OF  THE  CITY  GATE 


The  Plaza  de  California  occupies  the  interior 
of  the  California  Quadrangle  and  is  bounded 
on  the  north  by  the  fagade  of  the  California 
State  Building  with  the  portales  of  the  Fine 
Arts  Building  opposite.  The  two-storey 
flanking  wings  connecting  those  two  build¬ 
ings  on  the  east  and  west  sides  are  pierced 
by  the  two  arched  gateways  on  the  axis  of 
the  Puente  Cabrillo  and  El  Prado,  or  prin¬ 
cipal  street  of  the  Exposition.  The  two 
north  corners  of  the  Plaza  are  softened  and 
relieved  by  beds  of  planting,  containing  tall 
specimens  of  eucalyptus  and  shrubbery. 
Formally  trimmed  cypresses  in  square  tubs 
are  placed  in  front  of  the  piers  of  the  arcade 
which  bounds  the  Plaza. 

The  second  storey  of  the  wing  adjoining  the 
city  gate  is  occupied  by  the  attractive  rooms 
of  the  Women’s  Headquarters,  where  the 
formal  social  functions  of  the  Exposition  are 
held.  These  rooms  are  open  to  the  public, 
and  visitors  are  welcome 
at  all  times. 


[42] 


CALIFORNIA  QUADRANGLE 
PORTALES  OF  THE  PLAZA  DE  PANAMA 


The  portales  of  the  Plaza  de  California,  as 
well  as  those  of  the  whole  Exposition,  are 
one  of  its  most  essential  characteristics.  No 
other  feature  recalls  more  Continental  charm. 
Their  sturdiness  reminds  the  visitor  of  Genoa 
or  the  Mexican  city  of  Celaya. 

At  the  northeast  corner  of  the  Plaza  de 
Panama  the  portales  lead  through  an  arch¬ 
way  to  the  Jardins  del  Eucalyptus,  so  called, 
apparently,  from  the  thick  hedge  of 
fine  trees  surrounding  it. 


[44] 


CALIFORNIA  QUADRANGLE 
GATEWAY  TO  THE  NORTH  GARDENS 


Adjacent  to  the  tower  and  through  the  por- 
tales  at  the  northeast  corner  of  the  California 
Quadrangle,  the  visitor  finds  access  to  the 
gardens  behind  the  California  State  Build¬ 
ing.  At  the  right  of  the  sturdy  archway  is 
located  the  room  of  the  California  State 
Commission,  called  the  Governor’s  Room. 
This  is  decorated  in  black,  blue  and  gold 
with  a  rich  brocaded  dossal  at  the  farther 
end  under  which  is  an  excellent,  massive  oak 
dresser  of  the  Elizabethan  period.  Other 
interesting  objects  in  the  room  are  a  carved 
oak  bench,  contemporary  with  the  dresser, 
and  a  painting  of  the  Exposition  by 
Birch  Burdette  Long. 


[46] 


CALIFORNIA  QUADRANGLE 
ENTRANCE  FROM  NORTH  GARDENS 


To  the  northeast  of  the  California  State 
Building  is  a  mesa  surrounded  by  acacia, 
eucalyptus  and  other  trees,  formally  laid  out 
for  a  changing  show  of  bright  annual  flowers. 
This  is  the  work  of  John  Morley,  whose 
beautiful  arrangement  here  of  cannas  last 
year  is  one  long  to  be  remembered.  The 
garden  this  spring  is  being  planted  in  stock, 
to  be  followed,  with  the  advance  of  the 
seasons,  with  other  synchronous  blooms. 
Heavy  Italian  benches  are  arranged  around 
the  gardens,  whence  the  visitor  can  study 
the  California  Building  to  the  best  advan¬ 
tage.  A  pigeon  flying  about  the  Tower 
causes  the  observer  to  regret  that  rooks  are 
not  indigenous  to  Southern  California. 
Near  these  gardens  is  located  the  Exposition 
Day  Nursery. 

Returning  to  the  California  Quadrangle  one 
sees  the  face  of  the  archway  in  the  picture, 
massive  with  heavy  Churrigueresque  volutes 
and  almost  Aztec  in  its  modelling 
and  general  character. 


[48] 


CALIFORNIA  QUADRANGLE 
THE  BRIDGE  FROM  THE  PORTALES 


One  of  the  most  impressive  views  from  the 
Exposition’s  grounds  is  that  obtained  from 
the  balcony  near  the  main  entrance  to  the 
Fine  Arts  Building.  Here  the  sheer  impres¬ 
siveness  of  the  Puente  Cabrillo  is  seen  to 
good  advantage  as  well  as  the  rich 
planting  of  the  adjoining  canyons. 


[50] 


FINE  ARTS  BUILDING 
MISSION  CORRIDOR  OR  PORTALES 

Along  the  south  side  of  the  Plaza  de  Cali¬ 
fornia  runs  the  corridor  or  portales  of  the 
Fine  Arts  Building,  roofed  with  sturdy  cedar 
beams,  the  roofing  tiles  showing  through 
from  the  under  side.  The  blank  wall  at  the 
back,  its  plain  surface  broken  only  by  an 
entrance  door  to  the  great  hall  on  the  axis 
of  the  Plaza  is  left  for  future  fresco  deco¬ 
rations.  Benches  are  strung  along  this  wall, 
and  are  the  favorite  resting  places  for  the 
visitor  watching  and  listening  to  the  Spanish 
dancers  and  singers,  or  studying  the  orna¬ 
ment  and  symbolism  of  the  frontispiece  of 
the  California  State  Building  opposite. 
With  the  tile-marked  pavement  and  heavy 
piers  the  corridor  is  almost  wistfully  remi¬ 
niscent  of  the  passing  charm  of 
San  Fernando  Mission. 


[52] 


FINE  ARTS  BUILDING 
THE  MAIN  PICTURE  GALLERY 

The  main  exhibition  gallery  of  the  Fine  Arts 
Building  is  a  hall,  136  feet  in  length,  26  feet 
wide,  and  lightened  with  ranges  of  clere- 
storey  windows  set  up  into  the  arches  of  the 
quadripartite  vaulting  of  which  the  ceiling 
is  formed.  The  floor  is  of  large  Mission  tile 
quaintly  laid  with  wide,  gray  joints.  The 
walls  are  painted  a  soft,  warm  gray.  At  the 
east  end  is  a  broad  gallery  with  bas  reliefs 
set  in  the  face  of  the  paneling  of  the  balus¬ 
trades,  charming  putti  colored  and  gilded, 
representing  four  aits  —  music,  painting, 
sculpture,  and  ceramics. 

Beyond  this  gallery  and  in  the  east  stair  hall 
is  a  bronze  wall  fountain  in  the  barocco 
style  set  in  a  niche  lined  with  blue  and 
white  high-glazed  tile,  and  bearing  the 
inscription:  API2TON  MEN  YAOP. 

At  the  opposite  end  of  the  room  is  a  circular 
balcony  supported,  over  the  entrance  door, 
by  a  great  corbel  modeled  in  delicate  relief 
with  the  arms  of  the  city  of  San  Diego. 
Through  the  archway  to  this  balcony  is  seen 
the  massive  wood  ceiling  of  the  Main 
Entrance  Hall  from  which  is  pendant  a 
fine  Spanish  lantern  in  wrought 
iron  and  brass. 


[54] 


CHAPEL  OF  ST.  FRANCIS 
THE  REREDOS 

It  is  obvious  that  there  should  be  a  vein  of 
religious  character  running  through  the 
architecture  of  an  exposition  with  which  the 
name  of  the  saintly  Junipero  Serra  is  so 
closely  associated.  This  aspect  of  the  fair 
culminates  in  the  little  Chapel  of  St.  Francis 
of  Assisi  adjoining  the  main  stair  hall  of  the 
Fine  Arts  Building.  A  door  from  the  stair 
hall  gives  upon  the  gallery  at  the  back  of 
the  chapel,  the  pavement  of  which  is  on  a 
level  with  the  basement.  The  floor  is  of 
local  heavy  Mission  tile,  the  walls  plastered 
in  wavy  fashion,  and  the  furniture,  where 
new,  designed  to  simulate  the  best  of  the 
Mission  Period. 

The  reredos  is  the  Chapel’s  chief  glory, 
elaborately  modeled,  gilded  and  colored, 
extending  from  the  floor  to  the  crown  of  the 
barrel  vault  of  the  shallow  chancel.  A 
carved  statue  of  Our  Lady  and  Child,  deco- 
rated  and  gilded,  occupies  the  place  of  honor, 
while  at  either  side  are  statues  and  busts  of 
appropriate  saints. 

On  the  right  is  an  effigy  representing  San 
Diego  de  Alcala,  the  name-saint  of  the  city, 
and  on  the  left  the  statue  of  an  unknown 
Jesuit  saint,  to  commemorate  the  early 
Jesuit  missions  in  Arizona.  The  reredos 
was  designed  by  Bertram  Grosvenor  Good- 
hue,  who  also  selected  the  images  and  paint¬ 
ings  for  the  chapel;  the  other  furnishings 
were  designed  and  arranged  by 
Carleton  M.  Winslow. 


[56] 


CHAPEL  OF  ST.  FRANCIS 
LECTERN  AND  STATUE 

At  the  right  of  the  chancel  in  the  Chapel  of 
St.  Francis  is  a  fine  old  statue  of  San  Antonio 
de  Padua,  to  whom  one  of  the  Franciscan 
Missions  was  dedicated.  Time  has  tem¬ 
pered  its  gilding  and  coloring  to  soft,  warm 
tints.  The  wrought-iron  lectern  in  the 
middle,  is  of  Spanish  Gothic  with  faded  red 
and  gold  tassels.  Other  objects  of  interest 
in  the  Chapel  are  an  “Ecce  Homo,”  painted 
by  an  unknown  Mexican  artist,  which  was 
found  in  the  City  of  Mexico  by  Bertram 
Grosvenor  Goodhue  and  by  him  presented 
to  the  Exposition,  and  the  crucifix  and  candle¬ 
sticks  on  the  altar.  These  are  Spanish 
Renaissance,  carved  in  wood, 
gilded  and  colored. 


[58] 


CHAPEL  OF  ST.  FRANCIS 
THE  BALCONY 


The  sturdy  character  of  the  Chapel  of 
St.  Francis  is  enhanced  by  the  heavy,  adzed 
wood  beams  of  the  ceiling  which  form  the 
actual  roof  construction  of  the  chapel. 
Together  with  the  gallery  at  the  rear,  they 
form  the  only  non-fireproof  construction  in 
the  California  Quadrangle.  This  woodwork 
is  stained  a  deep,  rich  brown,  already  taking 
on  the  semblance  of  age.  Across  the  face 
of  a  heavy  beam,  supporting  the  gallery,  is 
painted  an  ascription  to  St.  Francis,  as 
follows: 

Scte  Francisce,  Pater  Seraphice  Mis- 
sionum  Alta  California  Patrone,  Ora 
Pro  Nobis: 

“Holy  Francis,  Seraphic  Father,  Patron  of 
the  Missions  in  California,  pray  for  us.” 

At  the  rear  of  the  chapel  is  the  entrance-way 
filled  with  Mexican  wood  rejas  with 
massive  hand-made  hardware. 


[60] 


CALIFORNIA  QUADRANGLE 
THE  EAST  OR  STATE  GATEWAY 

As  the  west  gateway  of  the  California  Quad¬ 
rangle  is  a  part  of  the  city-built  Fine  Arts 
Building,  so  in  like  manner  the  east  gateway 
is  designed  to  be  the  formal  entrance  for 
the  California  State  Building.  This  is 
clearly  indicated  by  the  conventionalized 
coat-of-arms  of  the  State  over  the  arch, 
executed,  as  is  all  of  the  decorative  work 
excepting  the  spandrels,  in  modeled  stone. 

The  spandrels  over  the  arch  are  filled  with 
high-glazed  colored  tile  representing,  or 
rather  commemorating,  on  one  side  the 
commencement  of  the  Spanish  occupation 
of  California,  and  on  the  other  that  of  the 
American  government,  two  important  dates 
in  the  history  of  the  State. 

These  historical  events  are  represented  by 
the  coat-of-arms  and  motto  of  Spain  and 
the  date,  1769,  that  of  Junipero  Serra’s 
arrival  in  San  Diego;  and  by  the  seal  of  the 
United  States  with  the  date  1846,  that  of 
the  State  Constitutional  Convention 
at  Monterey. 


[62] 


EL  PRADO 

THE  MAIN  AXIS  OF  THE  EXPOSITION 


The  principal  axis  of  the  Exposition  grounds 
picks  up  and  continues  the  center  line  of 
Laurel  Street  and  carries  it  eastward  to  the 
edge  of  the  deep  canyon  running  southward 
through  the  middle  of  Balboa  Park. 

This  avenue  has  the  character  of  a  fine, 
principal  street  of  some  display-loving 
Spanish  city.  Between  the  arcades  or 
portales  which  line  it,  and  its  roadbed,  are 
broad  esplanades,  lined,  near  the  curb,  with 
pleached  Blackwood  acacia  trees  set  in 
formal  order.  Back  against  the  arcades  and 
the  faces  of  the  buildings  where  they  project 
in  front  of  the  arcades  are  banked  shrubs, 
vines  and  flowering  plants.  At  regular 
intervals  and  in  line  with  the  trees  are 
ornamented,  bronze-green  lamp  posts,  their 
light  softened  by  the  foliage  and  casting  a 
mellow  glow  upon  the  buildings,  restful  and 
beautiful  beyond  compare. 

Along  this  street  are  located  the  more 
important  exhibit  buildings,  exemplifying, 
in  their  design,  certain  periods  of  Spanish 
and  Mexican  architecture,  but  all  drawn 
into  harmony  by  a  uniform  scale  of  orna¬ 
mentation  and  one  general 
tone  of  color. 


[64] 


THE  MONTEZUMA  GARDENS 
ENTRANCE  ARCHWAY 


Passing  along  the  arcade  leading  eastward 
from  the  California  Quadrangle,  the  visitor 
may  turn  into  the  Montezuma  Gardens 
lying  between  the  Fine  Arts  Building,  and 
the  Russia  and  Brazil  Building  which  for¬ 
merly  was  called  the  Indian  Arts  Building. 
This  archway  is  charming  in  its  very  sim¬ 
plicity,  in  pleasing  contrast  with  the  splendid 
ornamentations  of  the  California  Quadrangle 
to  the  west.  The  walls  are  of  plaster, 
colored  a  pale,  warm  grey  containing  a 
suggestion  of  pink;  the  smoothly  rolled  walks 
are  constructed  of  the  local,  red-brown 
half-formed  sandstone. 


[66] 


THE  MONTEZUMA  GARDENS 
PUEBLA  TOWER 


The  tower  of  the  Russia  and  Brazil  Building, 
(Indian  Arts  Building)  is  located  in  the 
Montezuma  Gardens  to  the  west  of  the 
building,  and  recalls  the  towers  in  the 
vicinity  of  Puebla,  Mexico.  The  dome  is 
tiled  in  yellow  and  blue  with  the  major 
portion  of  the  tower  colored  the  general 
warm  grey  tone  of  the  Exposition. 

The  garden  is  laid  out  with  flowers  blossom¬ 
ing  in  yellow  and  red  to  recall  the  Spanish 
colors;  an  occasional  peacock  wanders 
through,  proudly  spreading  his  tail  and 
unknowingly  completing  the 
color  complement. 


[68] 


THE  MONTEZUMA  GARDENS 
PERGOLA  AND  CALIFORNIA  TOWER 

At  the  east  end,  and  on  the  axis  of  the 
Montezuma  Gardens,  is  situated  a  beautiful 
vine-covered  pergola  in  the  Doric  style,  in 
charming  contrast  with  the  massed  greenery 
planted  round  about.  This  pergola,  together 
with  that  bordering  the  south  side  of  the 
gardens,  is  the  work  of  Frank  P.  Allen,  Jr. 

At  the  left  of  the  pergola  and  between  mas¬ 
sive  posts  a  path  leads  down  behind  the 
Fine  Arts  Building,  whence  charming  views 
of  the  California  Quadrangle,  the  Park 
and  the  city  may 
be  obtained. 


[70] 


THE  MONTEZUMA  GARDENS 
PERGOLA  TO  THE  SOUTH 


To  the  south  of  the  Montezuma  Gardens 
is  a  thick  bosque,  along  the  northerly  edge 
of  which,  and  barely  separated  from  the 
adjacent  gardens,  is  a  vine-covered  pergola. 
In  the  night  time  this  is  indescribably  fairy¬ 
like  with  its  illumination  of  tiny  twinkling 
lamps. 

From  this  point  paths  lead  eastward  behind 
the  Russia  and  Brazil  Building,  along  the 
upper  edge  of  the  palm  canyon,  or  the 
Canada  de  las  Palmas,  where  many  varieties 
of  palms,  cacti  and  various  brightly 
blooming  flowers  are  to  be  found. 


[72] 


THE  MONTEZUMA  GARDENS 
PERGOLA  WALK 


The  walks,  or  calc  ados,  leading  about  the 
grounds  of  the  San  Diego  Exposition  form 
almost  its  greatest  charm.  Restful,  inviting 
seats  are  placed  at  frequent  intervals,  always 
exactly  at  the  right  spot,  and  the  visitor  is 
continually  coming  upon  charming  vistas 
and  beautiful  floral  combinations.  These 
pergolas  and  walks  are  the  work  of  Frank 
P.  Allen,  Jr.,  until  1915  the  Director 
of  Works  of  the  Exposition. 


RUSSIA  AND  BRAZIL  BUILDING 
EAST  FACADE 


The  Russia  and  Brazil  Building,  first  called 
the  Indian  Arts  Building,  holds  an  important 
position  to  the  architectural  student  in  the 
historical  sequence  of  styles  represented  in 
the  various  buildings.  Especially  is  this  true 
of  the  east  front,  facing  the  main  plaza  of 
the  Exposition.  Here  the  arcade  surround¬ 
ing  the  plaza  forms  an  atrium  to  the  building 
in  front  of  which  is  the  elevation,  or  fachada, 
consisting  of  a  central  arch  flanked  by  two 
bell  gables,  recalling  the  Sanctuario  de 
Guadalajara,  Mexico.  This  latter  building, 
built  by  the  Franciscan  Fathers,  undoubt¬ 
edly  influenced  the  padre  missioners  in  their 
architectural  efforts  in  the  California  mis¬ 
sions.  The  Russia  and  Brazil  Building  was 
designed  by  C.  M.  Winslow,  the  sculp¬ 
ture  being  the  work  of  H.  L.  Schmohl. 


[76] 


RUSSIA  AND  BRAZIL  BUILDING 
TOWER  AND  BELL  GABLE 


Forming  a  part  of  the  Russia  and  Brazil 
Building  and  the  entrance  to  Los  Jardins  de 
Montezuma  at  their  northeast  corner,  is  an 
interesting  Carmelite  belfry  which  is  really 
but  an  accentuated  arch  of  the  portales 
facing  the  Prado. 

Just  beyond  and  forming  with  it  a  charming 
composition,  is  the  tile-domed  tower  of  the 
building.  In  the  adjacent  angle  of  the 
garden  is  a  little  stairway  half  smothered  in 
greenery  and  giving  access  to  an  artist’s 
studio  above  the  arcade. 


[78] 


RUSSIA  AND  BRAZIL  BUILDING 
ARCHES  OF  THE  PORTALES 

The  portales ,  or  arcades,  which  line  the 
principal  streets  of  the  Exposition  tend  to 
give  it  more  Spanish  character  than  any 
other  single  architectural  detail.  Not  only 
do  they  lend  picturesqueness  and  interest 
but  they  have  become  a  veritable  haven  of 
refuge  alike  from  the  heat  of  the  mid¬ 
summer’s  sun  and  the  coolness  of  the  win¬ 
ters’  and  sometimes  evenings’  wind. 

One  cannot  enjoy  these  pleasant  passages 
without  wishing  earnestly  that  Southern 
California  cities  in  general  would  adopt 
them  for  their  streets,  particularly  in  the 
business  districts. 

The  arcades  frequently  form  frames  for 
enchanting  details  of  the  Exposition.  In  the 
accompanying  picture  is  seen  the  San 
Joaquin  Valley  Building  framed 
in  this  way. 


[80] 


I 


RUSSIA  AND  BRAZIL  BUILDING 
SOUTH  PORTALES 


The  south  side  of  the  Plaza  de  Panama  is 
partially  enclosed  by  arcades  abutting  the 
Russia  and  Brazil  Building,  formerly  called 
the  Indian  Arts  Building,  on  the  west  and 
the  Foreign  Arts  Building  on  the  east. 

The  portales  of  the  Indian  Arts  Building  form 
a  vantage  point  for  wonderful  views  to  the 
southward;  here  one  sees  the  Palm  canyon 
in  all  its  glory,  the  Organ  Pavilion,  and  the 
city  and  bay  beyond.  To  the  eastward  is 
the  Pepper  grove. 

The  south  side  of  this  arcade  is  almost 
smothered  in  the  greenery  and  sweet  white 
blossoms  of  the  Solatium  Jasminoides, .  or 
“Potato  Vine,”  now  a  permanent  botanical 
resident  in  California  from 
South  America. 


[82] 


SCIENCE  AND  EDUCATION  BUILDING 
TOWER  AND  PART  OF  SOUTH  FACADE 

On  the  north  side  of  the  acacia-bordered 
Prado  and  immediately  east  of  the  California 
State  Building  is  the  Science  and  Education 
Building,  with  two  flanking  bays  projecting 
over  the  portales  and  enclosing  a  most  invit¬ 
ing  patio.  From  one  corner  rises  a  stair 
turret  decidedly  Moorish  in  character  but 
harmonizing  well  with  the  Renaissance  style 
of  the  rest  of  the  building,  its  top  covered 
with  bright  black  and  yellow  tiles.  At  each 
end  of  the  patio  a  faun  spurts  water  from 
his  mouth  into  a  tiny  pool.  Hedging  him 
in  is  a  rich  growth  of  planting,  the  magnolia 
grandiflora,  raising  its  glossy  luxuriance,  and 
the  feathery  bamboo  peeping  through 
and  into  the  arcades. 


[84] 


SCIENCE  AND  EDUCATION  BUILDING 
THE  PATIO  TOWER 

Though  Moorish  in  design  and  decoration, 
the  tower  of  the  Science  and  Education,  or 
Science  of  Man  Building,  fits  in  well  with 
the  east  fagade  of  the  structure.  , 

The  upper  stories  of  the  flanking  bays  both 
bear  three  decorated  windows  on  their  fronts, 
framed  with  twisted  columns  and  consisting 
of  two  arches  supported  in  the  middle  by  a 
slender  column  of  Sienna  marble.  I  he 
soffit  and  frieze  of  the  cornice  are  decorated 
with  .rich  coffering  and  support  roots  or 
mission  tile.  The  building  was  designed 
by  Carleton  Monroe  Winslow. 


[86] 


SCIENCE  AND  EDUCATION  BUILDING 
PATIO  AT  THE  SOUTHEAST  CORNER 


The  tiny  patio  at  the  northwest  corner  of 
the  Prado  and  the  Plaza  de  Panama  includes 
one  of  the  most  charming  bits  of  gardening 
in  the  Exposition.  Two  sides  of  the  patio 
are  formed  by  the  arcade,  the  others  by  the 
high  walls  of  the  adjacent  building.  A 
luxurious  growth  attempts  to  screen  these 
walls,  but  there  is  an  open  space  through 
which  the  visitor  sees  a  picturesque  balcony 
commanding  the  court  below.  A  tiny  foun¬ 
tain  is  set  back  into  the  shrubbery,  com¬ 
pleting  a  picture  of  a  veritable 
“  Hortus  Conclusus.” 


[88] 


SCIENCE  AND  EDUCATION  BUILDING 
EAST  FRONT 


The  front  of  the  Science  and  Education  or 
Science  of  Man  Building,  facing  the  Plaza 
de  Panama,  is  different  in  style  from  the 
Prado  front  of  the  building,  and  was  de¬ 
signed  to  recall  the  Churriguesque  as  locally 
developed  in  Puebla,  Mexico.  The  motive 
of  the  frontispiece  is  easily  seen  to  be  taken 
from  that  of  the  Church  of  San  Francisco 
in  Puebla  though  modified  to  harmonize 
with  the  other  buildings  in  the  Plaza. 

The  important  use  of  tile  on  the  tower  of 
this  building  is  appropriate,  Puebla  being 
famous  for  its  glazed  and 
colored  ceramics. 


[90  3 


UNITED  STATES  BUILDING 
ARMY  AND  NAVY  EXHIBITS 


At  the  north  side  of  the  main  plaza  of  the 
Exposition  is  situated  the  symmetrical  build¬ 
ing  occupied  by  the  Army  and  Navy  Exhi¬ 
bits  of  the  Government.  The  building  is  of 
two  storeys.  The  first,  raised  somewhat 
above  the  pavement  of  the  plaza  by  a  broad 
flight  of  seven  steps,  consists  of  an  arcade 
or  loggia  of  seven  bays  with  an  engaged 
column  at  each  pier,  flanked  by  projecting 
pavilions  at  either  side.  Above  each  arch 
is  a  broad  window  faced  with  an  iron  balcony 
with  a  similar  treatment  at  the  center  of 
each  end  pavilion.  Surmounting  all  is  a 
hipped  tile  roof  with  a  richly  colored  and 
gilded  cornice.  The  general  character  of  the 
building  is  Italian,  somewhat  that  of  the 
Municipal  buildings  of  Verona  but  with 
the  ornamentation  in  the  style  of  the 
Spanish  Baroque.  The  building  is  the  work 
of  Frank  P.  Allen,  Jr.,  and  was  originally 
called  the  Sacramento  Valley  Building. 
Brightly  colored  curtain- awnings  are  draped 
from  the  window  heads  out  over  the  balcony 
railings  and  an  expansive  awning  of  blue 
and  yellow  is  generally  spread  out  over  the 
broad  steps  to  protect  the  military 
band  from  the  bright  sun. 


[92] 


UNITED  STATES  BUILDING 
THE  ARCADE 


The  arcade  of  the  Government  Building,  or 
Sacramento  Valley  Building,  extends  through 
the  flanking  pavilions  and  is  connected  with 
the  adjoining  buildings  by  arcades  with  vine- 
covered  pergolas  above. 

Looking  through  the  arcade  towards  the 
west  gives  to  the  visitor  one  of  the  best 
vistas  in  the  Exposition.  Down  a  few  steps, 
out  between  high,  neatly  trimmed  hedges, 
the  scene  is  stopped  by  a  cross  hedge  growing 
close  to  a  fountain  niche  containing  a 
quaintly  leering  faun. 


[94] 


PLAZA  DE  PANAMA 
THE  PIGEONS 


The  afternoon  life  of  the  Fair  is  centered 
in  the  Plaza  de  Panama.  The  wheeling 
pigeons,  the  flash  of  colored  parasols,  the 
bright  uniforms  of  many  officers,  for  San 
Diego  is  almost  a  garrison  town,  all  tend  to 
make  the  plaza  the  delight  that  is,  or  was, 
Piazza  Colonna’s  in  Rome. 

The  first  pair  of  doves  came  to  the  Expo¬ 
sition  grounds  quite  of  their  own  accord, 
and  were  seen  perched  on  the  then  unfinished 
Pan-Pacific  Building.  Since  that  day  addi¬ 
tions  and  descendants  have  increased  the 
flock  abundantly,  and  San  Diego  is 
already  famous  for  her  pigeons. 


THE  PAN-PACIFIC  BUILDING 
WEST  FACADE 


The  Pan-Pacific  Building,  named  the  Home 
Economy  Building  until  the  beginning  of 
1916,  is  a  combining  of  two  quite  different 
architectural  motives.  The  building,  save 
for  the  corner  tower,  is  very  decidedly  in  the 
manner  of  the  urban  palaces  in  the  City  of 
Mexico,  and  recalls  the  house  of  the  Counts 
of  Heras  in  the  City  of  Mexico  in  its  vigorous 
use  of  rich  ornamentation.  Arcades  extend 
about  the  building,  charmingly  overgrown 
with  vines.  Here  the  red  Bougainvillea  or 
“  Paper  Flower,”  makes  a  brave  show  and  is 
refreshingly  beautiful  after  the  rampant 
showiness  of  the  commonplace 
magenta  variety. 


[98] 


THE  PAN-PACIFIC  BUILDING 
PROFILE  LOOKING  SOUTH 

Looking  southward  along  the  front  of  the 
Pan-Pacific  and  Foreign  Arts  Buildings,  one 
appreciates  the  balance  of  the  two  sym¬ 
metrical  corner  towers.  The  tower  of  the 
Pan-Pacific  Building  is  modeled  after  that 
of  the  Palace  of  Monterey,  at  Salmanica, 

The  building  is  the  work  of  Carleton  M. 
Winslow,  after  sketches  of  the 
Supervising  Architect. 


[100] 


THE  FOREIGN  ARTS  BUILDING 
WEST  FACADE 

The  Foreign  Arts  Building,  though  totally 
different  in  style  from  that  of  the  Pan- 
Pacific  Building,  balances  it  perfectly  in 
axiated  arrangement.  The  arcades,  the  cor¬ 
ner  tower,  and  the  projecting  pavilions,  all 
find  their  relative  counterparts  on  the  oppo¬ 
site  side  of  the  Prado.  The  building,  how¬ 
ever,  is  almost  Plateresque  in  the  style  of  its 
ornament,  which  reminds  the  visitor  of  that 
of  the  Hospital  of  Santa  Cruz  at  Toledo, 

The  building  is  over-ornamented,  however, 
and  the  frontispieces  and  windows  would 
appear  to  much  better  advantage  were  the 
cornices  left  undecorated.  The  building 
was  designed  by  Carleton  M.  Winslow. 


[102] 


THE  FOREIGN  ARTS  BUILDING 
CORNER  TOWER 


While  the  Plaza  de  Panama  is  completely 
surrounded  by  arcades  or  portales  the  two 
corner  towers  at  the  east  junction  of  the 
Prado  and  the  Plaza  are  set  at  the  back 
line  of  them,  thereby  gaining  in  interest  and 
importance.  Exactly  of  the  same  size  they 
are  quite  different  in  character,  and  act  as 
foils  one  against  the  other.  That  of  the 
Foreign  Arts  Building  is  especially  pictur¬ 
esque  when  seen  framed  in  by  the  arches 
of  the  portales  to  the  south. 

The  heraldic  decoration  of  the  Foreign  Arts 
Building  consists  of  the  coat-of-arms  of  the 
countries  included  in  the  Pan-American 
Union  blazoned  upon  its  exterior  walls.  At 
the  top  and  center  of  the  two  main  pavilions 
on  the  Plaza  and  the  Prado,  is  the  conven¬ 
tionalized  seal  of  the  Pan- 
American  Union. 


[104] 


CANADIAN  BUILDING 
ARCADE  CONNECTING  THE  PORTALES 


Passing  up  the  Prado  eastward  from  the 
Plaza  de  Panama  the  visitor  comes  to  the 
interesting  cross  axis  of  the  Botanical  Build¬ 
ing.  At  this  point  the  portales  on  the  north 
side  of  the  street  are  interrupted,  while  on 
the  south  side  the  arcades  of  the  Foreign 
Arts  Building  and  of  the  Canadian  Building 
are  connected  by  a  tile-covered  corridor. 
Both  to  the  northward  and  the  south,  the 
vistas  from  this  arcade  are  among  the  most 
delightful  of  the  Exposition.  To  the  north, 
flanked  by  the  corner  pavilions  of  the  arcades 
of  the  Prado  is  the  long  pool  or  “Laguna  de 
Las  Flores,”  with  the  vista  stopped  by  the 
Botanical  Building.  This  beautiful  garden 
space  has  been  renamed  the  Court  of  Leap 
Year,  well  merited  by  its  singular  grace  and 
almost  insinuating  charm. 

To  the  southward  the  visitor  has  a  wonderful 
view  across  the  gorgeous  little  garden  be¬ 
tween  the  two  buildings  to  the  hills  and 
valleys  of  the  Park  and  the  city,  sea  and 
islands  beyond.  The  corridor,  together  with 
the  Canadian  Exhibit  Building  of  which  it 
is  a  part,  is  the  work  of  F.  P.  Allen,  Jr.  In 
1915  this  building  was  called  the  Com¬ 
merce  and  Industries  Building. 


[106] 


CANADIAN  BUILDING 
THE  LOWER  CORRIDOR 


Leaving  the  Prado  at  the  little  corridor 
connecting  the  Foreign  Arts  and  the  Cana¬ 
dian  Buildings,  the  visitor  descends  south¬ 
ward  through  a  charming  little  garden 
between  these  two  buildings  to  the  Lower 
Corridor  in  the  lower  level  of  the  Canadian 
Building. 

Here  is  a  pleasant  resting  place  and  point 
of  vantage  for  listening  to  the  music  of  the 
outdoor  organ  located  on  the  mesa 
across  the  canyon  to  the  southwest. 


[108] 


I 


CANADIAN  BUILDING 
PORTION  OF  SOUTH  FACADE 


Leaving  the  lower  corridor  of  the  Canadian 
Building,  or  the  Commerce  and  Industries 
Building  as  it  was  called  during  1915,  the 
visitor  comes  out  into  a  park  of  smooth 
green  grass,  shady  trees  and  flowering  shrubs. 
Here  the  rear  of  the  adjacent  Foreign  Arts, 
Canadian  and  San  Joaquin  Valley  Buildings 
are  seen  to  excellent  advantage.  Devoid 
of  the  extraneous  ornament  of  the  more 
showy  parts  of  the  structures,  the  build¬ 
ings  here  express  a  more  unconscious 
charm  in  the  naive  and  straightforward 
massing  of  their  composition.  Here  it  is 
clearly  demonstrated  that  there  is  no  “back 
yard”  to  the  Exposition,  and  the  planting 
and  the  paths  give  the  impression  of 
picturesque  outskirts  of  a  Spanish 
or  Mexican  town. 


[110] 


CANADIAN  BUILDING 
THE  EAST  WALK 


Along  the  east  side  of  the  Canadian  Building 
(Commerce  and  Industries  Building)  a  wind¬ 
ing  walk  passes  along  the  edge  of  a  beautiful, 
deep  canyon  through  fine  eucalyptus  and 
pepper  trees,  connecting  the  Prado  with  the 
park  to  the  south  of  this  building. 

Across  the  way  is  the  Pepper  Grove  Park 
and  the  grounds  of  the  Exposition  Hospital 
and  Service  Buildings,  almost  smothered  in 
foliage.  Forming  the  skyline  to  the  east  is 
a  screen  of  towering  eucalyptus.  Viewed  by 
moonlight  this  wandering  path  gives  an 
impression  of  unbelievably 
wild  beauty. 


[-112] 


CANADIAN  BUILDING 
THE  PRADO  ESPLANADE 


The  esplanades  along  the  Prado,  not  essen¬ 
tially  Spanish  in  character,  set  off  and  soften 
the  street  line  of  the  adjacent  buildings. 
About  twenty  feet  wide,  these  parked  spaces 
are  carpeted  with  closely  cropped  turf  and 
bordered  near  the  curb  with  pleached  black- 
wood  acacias  set  at  regular  intervals.  Back 
against  the  buildings  are  shrubs  and  vines 
already  tangled  into  luxuriant  growth,  with 
annual  flowers  immediately  in  front.  On 
line  with  and  at  intervals  between  the  trees 
are  lamp-posts  whose  light  is  broken  by  the 
foliage  into  fairy-like  beauty.  Peacocks  and 
pheasants  wander  about  and  coveys  of 
saucy  quail  from  the  neighboring  hills  of  the 
park  frequently  invade  the  precincts 
of  an  early  morning. 


[114] 


CANADIAN  BUILDING 
THE  PRADO  FAQADE 


The  Canadian  Building,  formerly  the  Com¬ 
merce  and  Industries  Building,  occupies  the 
southeast  corner  of  the  group  of  the  main 
buildings  of  the  Exposition.  Outstandingly 
ornate,  it  is  much  in  keeping  with  the  usual 
conception  of  a  world’s  fair  exhibit  building, 
yet  its  interesting  Spanish  ornament  keeps 
it  in  harmony  with  the  other  buildings  of 
this  Exposition.  In  general  it  reminds  one 
of  the  Casa  Consistorial  at  Palma,  Majorca, 
Spain,  especially  in  the  cornice  treatment 
where  bright  blue,  red,  green  and  gold  have 
been  introduced  in  soffit  and  frieze  with 
excellent  effect.  On  the  Prado  front  two 
pavilions  project  out  to  the  face  of  the 
arcades,  marking  the  entrances  to  the 
interior.  At  these  points,  the  arcades  widen 
at  the  interior  into  spacious  vestibules. 

The  building  is  the  work  of 
Frank  P.  Allen,  Jr. 


[116] 


LA  LAGUNA  DE  LAS  FLORES 
ENTRANCE  TO  PRADO  ARCADE 


Interrupting  the  arcade  along  the  north  side 
of  the  Prado  and  flanking  the  axis  of  the 
Botanical  Building  are  little  corner  pavilions 
in  the  style  of  the  Spanish  Renaissance. 
These  arched  pavilions  are  repeated  in 
various  places  throughout  the  length  of  the 
Prado  and  tend  greatly  to  harmonize  and 
unify  the  buildings  of  varying  architectural 
epochs  to  which  they  are  adjacent.  These 
pavilions  were  designed  by  Carleton  Monroe 
Winslow. 

A  most  picturesque  view  of  a  portion  of  the 
Canadian  Building  is  seen  when  reflected 
in  the  Laguna  de  Las  Flores  together  with 


[118] 


LA  LAGUNA  DE  LAS  FLORES 
THE  ARCADE 

Possibly  the  irresistable  charm  of  the  deco¬ 
rative  use  of  water  is  not  felt  as  strongly  by 
the  visitor  to  Southern  California  as  it  is  by 
the  resident,  but  no  one  can  see  the  orderly, 
placid  pool  in  front  of  the  Botanical  Building 
without  realizing  how  satisfying  it  is  and 
how  necessary  it  is  to  the  decorative  success 
of  the  Fair. 

Long,  rectangular  in  form,  its  edges  bor¬ 
dered  with  the  intensely  blue  lobelia,  its 
lilies  graded  in  richness  as  they  approach 
the  Botanical  Building,  it  forms  a  splendid 
foreground  for  the  views  from  all  sides.  The 
reflections  of  the  arcade  at  the  south  and 
of  the  Botanical  Building  at  the  north  are 
fine,  but  that  of  the  apse  of  the  pseudo¬ 
chapel  of  the  Foreign  and  Domestic  Indus¬ 
tries  Building,  forms  possibly  the  most 
picturesque  detail  of  the 
Exposition. 


[120] 


THE  BOTANICAL  GARDENS 
THE  CHAPEL  APSE 


The  Foreign  and  Domestic  Industries  Build¬ 
ing  is  really  made  up  of  two  closely  connected 
structures  called,  until  1916,  the  Varied 
Industries  and  Food  Products  Buildings. 

In  form  and  arrangement  it  is  likened  to  a 
great  convent  with  its  chapel  built  within 
or  through  the  principal  mass.  In  this  case 
the  chapel  faQade  faces  on  Calle  Cristobal, 
or  the  street  east  of  the  building,  with  the 
pseudo-choir  and  apse  toward  the  west  and 
projecting  into  the  Botanical  Gardens. 
Polygonal  in  plan,  the  apse  is  strengthened 
at  its  angles  by  buttresses  with  circular  top 
windows  arranged  between.  At  the  south 
side  of  the  choir  a  little  patio  or  court  is 
recessed  into  the  building  with  an  arcade  of 
five  bays  along  its  eastern  side  At  the 
junction  of  apse  and  choir  is  a  sanctuary 
entrance  emphasized  by  a  bell  turret  above. 
The  illusion  is  perfect.  One  can  scarcely 
believe  that  there  is  not  an  altar  within, 
surrounded  by  gilded  rejas  with  a  retro- 
choir,  where  a  handful  of  monks  drowsily 
chant  the  divine  office  at  intervals 
throughout  the  sunny  day. 


[122] 


THE  BOTANICAL  GARDENS 
PERGOLA 


In  the  Jardin  de  las  Flores,  toward  the  west 
of  the  Botanical  Building  is  a  pergola  raised 
a  few  steps  from  the  ground  and  designed 
in  the  Roman  Doric  style  by  F.  P.  Allen,  Jr. 
It  is  surrounded  by  a  dense  growth  of  euca¬ 
lyptus  and  has,  furthermore,  for  its  back¬ 
ground,  the  east  end  of  the  United  States 
Government  Building.  Still  further  away 
toward  the  west,  rises  the  ever-graceful 
tower  of  the  California 
State  Building. 


[124] 


THE  BOTANICAL  GARDENS 
THE  SERRA  MEMORIAL 


At  the  end  of  the  chapel  apse  of  the  Foreign 
and  Domestic  Building  (formerly  the  Food 
Products  Building)  and  facing  the  Botanical 
Gardens,  is  a  memorial  in  commemoration 
of  Padre  Junipero  Serra,  the  first  presidente 
of  the  Franciscan  Missions  in  California. 
The  monument  is  in  form  of  an  inscribed 
tablet  set  high  upon  a  base  and  framed  with 
Churrigueresque  ornamentation  and  sym¬ 
bols  recalling  the  Spanish  dominion  of  the 
locality. 

A  bas-relief  portrait  of  Father  Serra, 
adopted  from  the  familiar  painting  of  him, 
occupies  the  point  of  honor,  with  the  follow¬ 
ing  inscription  below: 

To  the  Memory  of 
Fray  Junipero  Serra 
and 

To  His  Fellow  Pioneers  whose 
Saintly  Devotion  and  Dauntless 
Courage  Established  Christianity 
and  Civilization  in  Alta  California 
1769-1915 

This  monument  was  designed  by  Carleton 
Monroe  Winslow.  The  sculpture  work 
was  modeled  by  H.  R.  Schmohl. 


[126] 


THE  BOTANICAL  BUILDING 
THE  MAIN  FRONT  AND  GARDENS 


The  Botanical  Building  is  located  at  the 
north  of  the  cross  axis  to  the  Prado  between 
the  Pan-Pacific  and  the  Foreign  and  Domes¬ 
tic  Products  Buildings. 

Immediately  in  front  of  the  Botanical 
Building  lies  the  long  oblong  pool  called 
La  Laguna,  crossed,  at  its  upper  end,  by  a 
balustraded  bridge.  The  pool  is  invaluable 
for  its  reflections;  the  inverted  pictures  are 
broken  by  the  water  growth  which  increases 
in  density  as  it  approaches  the  upper  end, 
terminating  immediately  in  front  of  the 
Botanical  Building  in  almost  swamp-like 
richness  of  vegetation. 

Massed  around  the  court  and  pool  are  many 
varieties  of  the  blackwood  acacia,  grevillia, 
camphor,  araucaria ,  and  the  ever-present 
eucalyptus.  In  the  pool  are  many  varieties 
of  lilies,  principally 
the  lotus. 


[128] 


THE  BOTANICAL  BUILDING 
EXTERIOR 


The  Botanical  Building,  commonly  called 
the  “Lath  House,”  is  the  focal  point  of 
horticultural  interest  of  the  Exposition. 

The  main  portion  is  built  of  redwood  upon 
an  arcaded  storey  of  concrete  and  stucco, 
the  trusses  being  of  steel,  painted  to  match 
the  redwood.  The  rear  portion  is  glazed  to 
attain  a  tropical  temperature  for  the  exotic 
plants  there  exhibited. 

The  building  is  an  ornamental  example  of 
the  lath-covered,  open  conservatory  common 
to  Southern  California,  which  forms  ample 
protection  to  the  tropical  and  semi-tropical 
plants  from  the  wind  and  too  intense  heat 
of  the  sun.  The  building  is  a  combination 
of  the  practical  requirements  of  Frank  P. 
Allen,  Jr.,  and  the  design  of  Carleton 
Monroe  Winslow.  Thomas  P.  Hunter  was 
its  engineer,  and  the  planting  was  the  work 
of  Paul  G.  Thiene,  the  work  being  now 
greatly  extended  and  completed 
by  John  Morley. 


[130] 


THE  BOTANICAL  BUILDING 
INTERIOR 

✓ 

Within  the  Botanical  Building,  which  is  one 
of  the  largest  lath-covered  structures  in 
existence,  is  a  rare  collection  of  tropical  and 
semi-tropical  plants.  Growing  in  thick  pro¬ 
fusion,  are  the  palm  and  bamboo,  varieties 
of  banana  trees,  the  aralia  and  many  other 
plants  found  in  Central  and  South  American 
jungles.  In  the  glass  covered  conservatory, 
above  an  open  pool  filled  with  lilies,  drops 
from  the  ceiling  a  heavy  growth  of  vitis,  a 
curious  relative  of  the  common  grape-vine, 
but  with  long,  aerial  roots,  sometimes  twenty- 
five  or  thirty  feet  in  length,  while  sweeping 
fronds  of  tropical  ferns  border  the  water. 
The  ground  itself  is  covered  almost  entirely 
by  isolepsis. 

Among  the  rare  growths  from  the  tropics  are 
tree  ferns  and  many  crotons  and  draceenas , 
the  grotesque  philodendrons  and  anthuriums, 
and  many  other  curious  and 
beautiful  plants. 

Esther  Hansen. 


[132J 


FOREIGN  AND  DOMESTIC  BUILDING 
PRADO  FACADE 


The  southern  portion  of  the  Foreign  and 
Domestic  Products  Building  was  formerly 
called  the  Varied  Industries  Building.  It  is 
in  the  form  of  a  highly  ornamented  two- 
storied  arcade  between  flanking  entrance 
pavilions.  This  arcade  is  typical  of  the 
patio  portales  of  Mexico  and  recalls  that  of 
the  eighteenth  century  work  at  Queretaro. 
Originally  designed  for  an  agricultural 
exhibit,  the  fagade  is  embellished  with  a 
row  of  appropriate  symbols  in  the  spandrels 
of  the  arches. 

Great  draperies  are  hung  in  the  second-story 
arcade,  hanging  out  over  the  balustrade, 
and  add  much  to  the  effectiveness 
of  the  building. 


[134] 


FOREIGN  AND  DOMESTIC  BUILDING 
THE  CHAPEL  FRONT 


The  east  front  of  the  Foreign  and  Domestic 
Industries  Building  is  emphasized  by  the 
fagade  of  the  chapel  built  into  and  through 
the  building.  This  front  indicates  the 
entrance  to  the  building  and  is  on  the  axis 
of  the  terrace  of  the  Southern  California 
Counties  Building  immediately  opposite. 
The  fagade  consists  of  an  elaborate  frontis¬ 
piece  between  the  two  flanking  bell  towers 
domed  with  tile  and  surmounted  with  cross- 
like  wrought  iron  finials. 

Along  the  entire  east  front  of  this  building 
is  a  broad  esplanade  with  rich  planting 
banked  against  the  building. 

This  pavilion  was  formerly  called  the 
Food  Products  Building. 


THE  SOUTHERN  CALIFORNIA  COUNTIES 
PATIO 


The  Southern  California  Counties  Building 
is  in  form  of  a  main  exhibit  building  with  a 
great  forecourt  between  flanking  projecting 
wings.  Between  these  wings  at  the  front  is 
a  one-storey  arcade  while  at  the  interior 
angles  of  the  patio  are  twin  towers  with  tile 
decorated  domes. 

At  the  corners  of  the  patio  are  octagonal 
beds  containing  fan  palms.  The  floor  of  the 
patio  and  corridors  is  paved  with  old  sand 
Mission  tile  set  in  uncolored  mortar. 

The  double  arcade  of  the  north  side  of  the 
patio  is  not  unlike  that  of  the  convent  of 
San  Augustin,  Queretaro,  Mexico.  In  the 
frieze  of  the  entablature  are  inscribed  the 
names  of  the  counties  co-operating  in  the 
exhibit. 

The  building  is  the  work  of  Carleton  Monroe 
Winslow  after  sketches  of  the 
supervising  architect. 


[138] 


THE  ORGAN  PAVILION 
FROM  THE  OPPOSITE  ARCADE 


At  the  bottom  of  the  main  cross  axis  of  the 
Exposition  and  fronting  on  the  Plaza  de 
los  Estados  stands  the  permanent  structure 
of  the  outdoor  organ  pavilion  given  to  the 
Exposition  and  the  city  of  San  Diego  by 
John  D.  and  Adolph  B.  Spreckels. 

This  building,  of  which  Harrison  Albright 
was  the  architect,  consists  of  a  great  pros¬ 
cenium  with  a  somewhat  flat  gable  with 
finals  at  the  top  and  corners  and  the  whole 
ornamented  with  delicate  Plateresque  detail. 
Curving  around  at  the  sides  are  colonnaded 
walks  in  form  of  a  peristyle  through  which 
is  a  beautiful  view  of  the  distant  city  and  sea. 
The  organ,  permanently  presided  over  by 
Humphrey  J.  Stewart,  Mus.  Doc.,  has 
four  manuals  and  sixty-two 
speaking  stops. 


[140] 


THE  ORGAN  PAVILION 
THE  PERISTYLE 


The  Peristyle  of  the  Organ  Pavilion  is  a 
colonnade  in  the  Corinthian  style  with  an 
elaborate  balustrade  above  and  delicate 
finials  over  each  column. 

At  each  side  of  the  great  organ  and  on  line 
with  the  peristyle  are  the  bronze  tablets 
recording  the  donation  of  the  building  to 
the  city  and  the  names  of  those  instrumental 
in  the  gift  and  its 
construction. 


[142] 


STATE  BUILDINGS 
FROM  THE  THEOSOPHICAL  BELFRY 

The  Via  de  los  Estados  leads  from  the  Organ 
Pavilion  southward  by  the  State  Buildings, 
terminating  at  the  south  in  the  quarters  of 
the  United  States  Marines. 

The  accompanying  picture  was  taken  from 
the  tower  of  the  Theosophical  Building, 
originally  designed  for  the  State  of  Kansas, 
and  shows  the  Montana  Building  on  the 
left,  that  of  the  State  of  Washington  on  the 
right,  with  the  New  Mexico  Building  imme¬ 
diately  beyond. 

The  Montana  Building  was  designed  by  the 
Division  of  Works  of  the  Exposition. 

A.  F.  Heide  was  the  architect  for  the 
Washington  State  Building. 


[144] 


THE  NEW  MEXICO  BUILDING 
A  PUEBLO  BUILDING 


One  of  the  most  interesting  pavilions  in  the 
Exposition  is  that  built  for  the  State  of 
New  Mexico. 

Here  is  represented  with  apparently  aston¬ 
ishing  fidelity  the  irregular  walls  and  rough 
beam  construction  of  the  Pueblo  Indians  as 
trained  by  the  early  Franciscan  father  mis- 
sioners  who  penetrated  into  northern  New 
Mexico.  The  building  is  in  two  parts,  the 
larger,  more  southernly  portion,  representing 
the  church.  Here,  on  its  front  between  the 
two  rather  stunted  towers,  is  the  usual 
second-story  loggia  or  tribune. 

Within  the  building  is  a  little  galleried  patio 
paved  with  rough  tile  and  enlivened  with 
a  few  vines  and  flowering  plants. 

The  carving  of  the  woodwork,  the  fire¬ 
places  and  other  details,  are  carried  out 
with  remarkable  fidelity  to  the  character  of 
the  ancient  work  at  Isleta  and  Acoma. 
Rapp  Brothers  of  Trinidad,  Colorado, 
were  the  architects  for  this  excellent  study 
of  a  fast  disappearing  phase  of 
American  architecture. 


[146] 


THE  THEOSOPHICAL  HEADQUARTERS 
FORMERLY  KANSAS  BUILDING 

The  Theosophical  Building  is  the  only  one 
in  the  Exposition  completely  in  the  so-called 
Mission  style  and  forms,  therefore,  a  signi¬ 
ficant  step  in  the  Fair’s  architectural 
sequence. 

Along  the  front  and  at  the  southerly  side  of 
a  simple  exhibition  room  roofed  with  Mis¬ 
sion  tile,  runs  a  verandah  or  arcade  with  a 
typical  Mission  tower  at  the  right  side  of 
the  axis  or  entrance. 

The  south  portion  of  the  verandah  is  roofed 
with  open  beams  only,  and  near  it  a  stairway 
gives  access  to  the  roof  terrace  above  and 
to  the  tower. 

Carleton  Monroe  Winslow  was  the 
architect  of  the  building. 


[148] 


SAN  JOAQUIN  VALLEY  BUILDING 
THE  EAST  FRONT 


The  long  florid  fagade  of  the  San  Joaquin 
Valley  Building  flanks  the  Esplanade  on  its 
east  side,  and  is  an  interesting  though  almost 
over-ornamented  example  of  the  civic  work 
in  Mexico  during  the  Baroque  or  Churri- 
gueresque  period.  The  building  is  divided 
into  two  excellently  proportioned  storeys, 
with  the  long  middle  portion  of  the  elabo¬ 
rately  decorated  bays  relieved  with  much 
simpler  end  pavilions  having  fructated 
gables.  Frank  P.  Allen  was  the  architect 
for  this  building. 

Passing  through  the  building  to  the  east  the 
visitor  comes  out  upon  a  long  terrace, 
commanding  beautiful  views  of  the  Canon 
Espanol,  and  the  Pepper 
Grove  beyond. 


[150] 


THE  JAPANESE  GARDENS 
THE  TEA  HOUSE 


From  the  gardens  between  the  Botanical 
Building  and  the  Foreign  and  Domestic 
Products  Building  a  pathway  leads  north¬ 
ward  to  the  quaint  and  interesting  gardens 
of  the  Japanese  and  Formosa  Exhibit. 
Here  are  pools  and  a  winding  waterway  with 
the  typical  bridge  of  long  life  spanning  it. 
Stepping-stones,  lanterns,  fine  cedars  and 
wistaria  complete  the  Japanese  character  of 
the  gardens,  while  over  the  main  entrance 
and  at  the  gable  ends  of  the  tea-house  are 
excellently  carved  folo  birds  and  shachi  fish, 
promising  immortality  and  good  luck  to  the 
visitor. 

In  the  guest  room  of  the  interior  are  the 
ever-present  tokonoma  with  its  companion 
chagai-dana  for  exhibiting  kakimonos  and 
beautifully  arranged  blossoms  in  rare  pot¬ 
tery  and  bronzes. 

The  architect  for  the  pavilion 
was  Mr.  K.  Tamai. 


[152] 


SOUTHERN  CALIFORNIA  COUNTIES 
THE  MODEL  FARM 

Somewhat  distant  from  the  remainder  of  the 
Southern  California  Counties  Exhibit  is  an 
irregular  five-acre  plot  of  mesa  land  laid  out 
as  a  model  California  farm. 

Set  in  the  midst  of  the  plot  is  the  ranch 
house,  a  typical  California  bungalow,  com¬ 
pletely  furnished,  and  softened  into  its 
surroundings  by  excellent  decorative  plant¬ 
ing; 

Driveways  enter  the  grounds  at  either  side 
of  the  house,  giving  access  to  the  gardens 
and  the  orchards  beyond.  Here  the  visitor 
sees  pear,  peach,  apricot  and  walnut  trees 
and  date  palms,  bearing  intensively,  also 
berry  shrubs  and  bushes,  together  with 
many  rare  fruits  and  vegetables. 

Registered  poultry  and  other  animals  help 
to  complete  a  typical  model  ranch  of 
especial  interest  to  the 
eastern  visitor. 


[154] 


I 


HERE  ENDS  THE  ARCHITECTURE  AND  THE 
GARDENS  OF  THE  SAN  DIEGO  EXPOSITION, 
WITH  AN  INTRODUCTION  BY  BERTRAM 
GROSVENOR  GOODHUE  AND  AN  ESSAY  BY 
CLARENCE  S.  STEIN,  THE  DESCRIPTIVE 
TITLES  BY  CARLETON  MONROE  WINSLOW, 
THE  ILLUSTRATIONS  FROM  PHOTOGRAPHS 
BY  HAROLD  A.  TAYLOR,  EDITED  BY  PAUL 
ELDER.  PUBLISHED  BY  PAUL  ELDER  AND 
COMPANY,  AND  SEEN  THROUGH  THEIR 
TOMOYE  PRESS  UNDER  THE  TYPOGRAPH¬ 
ICAL  DIRECTION  OF  H.  A.  FUNKE,  IN  THE 
CITY  OF  SAN  FRANCISCO,  DURING  THE 
MONTH  OF  MAY,  NINETEEN  HUNDRED 
AND  SIXTEEN. 


